Author Project Year Format Theme Action

The 3D
Additivist
Cookbook

Edited by Morehshin Allahyari and Daniel Rourke

Imprint

Creators/Editors:
Morehshin Allahyari and Daniel Rourke

Editorial Support:
Rita Macedo and Shane OShea

Additional Copy-editing:
Miriam Rasch

Front Cover Image:

Shane OShea

Graphic Design:
The Laboratory of Manuel Brger
Manuel Brger, Simon Schindele and
Alexander Papoli-Barawati

Publisher:
Institute of Network Cultures, Amsterdam

Supported by:
transmediale 2016s Vilm Flusser Residency
Programme for Artistic Research,
and Ernst Schering Foundation, Berlin

Contact:
Institute of Network Cultures
Amsterdam University of Applied Sciences
www.networkcultures.org
books@networkcultures.org
t: +31 (0)20 595 1865

This publication is licensed under Creative Commons

Attribution-NonCommercial-ShareAlike 4.0 International
(CC BY-NC-SA 4.0). To view a copy of this license, visit
creativecommons.org/licenses/by-nc-sa/4.0/

Amsterdam, January 2017

ISBN 978-94-92302-10-6 (PDF)

additivism.org/cookbook
Table of Contents

Contents
Introduction
The 3D Additivist Manifesto
A-Z Index
How to use The Cookbook
The 3D Additivist Cookbook
#Tag Index
Acknowledgements
List of Participants
Introduction
In March 2015 we launched The 3D
Additivist Manifesto as a call to expand
and challenge the scope of the 3D printer.
We hoped, at the very least, to begin a
conversation about the material politics
of this clunky, often over-hyped machine;
a politics that might inspire tutors, and
technicians into using and teaching the
3D printer in critical, poetic, and disruptive
new ways. What we quickly realized was
that as well as disassembling additive
manufacturing into a range of images,
metaphors and theoretical associations,
we had also unwittingly birthed a term
that offered us a way to think about the
scale at which all actions whether 3D
printable or not take place. #Additivism is
a coinage of additive and activism, and as
such, signals to the potential of small scale,
incremental processes to have substantial
and long lasting effects. The works in this
cookbook are extensive in their capacity
to transmute digital forms through the
material world into human scale actions
and impressions, but it is to a scale beyond
single bodies and minds that we are most
interested in attending. As we write this in
late 2016 our manifestos apocalyptic vision
of a world accelerated to breaking point
by technological prowess seems strangely
comforting compared to the delirious
political landscape we see before us.
Whether you believe political malaise,
media delirium, or the inevitable implosion
of the neoliberal project is to blame for the
rise of figures like Farage, Trump and
potentially Le Pen, the promises they
make of an absolute shift in the conditions
of power appear grand precisely because
they choose to demonize the discrete
differences of minority groups, or attempt
to overturn truths that might fragment and
disturb their all-encompassing narratives.
These populist grand narrators join a long
list of doomsayers, who seed utopian
visions in the minds of their followers
through a language of hate and fear. At this
time we turn to the small scale motions of
the 3D printer, and the incremental transfor
mations locked up in recipes, toolkits
and digital files for solace and inspiration.
Though we invoked grand narratives such
as the Anthropocene, human evolution
and extinction, civilization collapse, cyborg
uprisings, and large scale social unrest
in our manifesto, it is from infinitesimal
gestures and their collective enactment
that we believe the most profound
transformations arise.
#Additivism is attentive to more than the
transformation of zeroes and ones into
physical layers on a 3D print bed. Every
text, work, and speculative proposal
Introduction
contained in this Cookbook comprises
a series of incremental steps necessary
to manufacture other realities. It is in
the tradition of the recipe, then, that the
metaphor of #Additivism might be best
understood. Recipes are one of the primary
modes of making, learning, sharing, and
revising (im)possible worlds. To follow a
recipe is to grapple with forces well below
and above the scale of the individual, for
whether the maker is kneading yeast, flour
and water into bread, or combining charcoal
with saltpeter to produce gunpowder, the
outcome of their work has the capacity to
compel innumerable bodies into expressing
further, previously invisible, motivations into
reality. Recipes are powerful, from the Latin
posse, to be able. Recipes are political,
from the Greek politikos, relating to, or
among others. And recipes, in that they
promise to cause certain effects if they are
followed, are theoretical, from the Greek
thea, to look outward, or contemplate,
and horao, to attend to something closely.
Even before their particular ingredients are
collected, prepared, and combined, recipes
harbor a radical potential to transform the
given world.
The works submitted and curated for
The 3D Additivist Cookbook were selected
because we considered each of them - in
their own unique, often subtle ways - to
be radical. They each offer a position,
a provocation, or a mode of thinking
we found essential to further and even
surprise our vision of the (im)possible.
To maintain this openness we also
found it necessary to interrupt our own
conceptions and predilections. To achieve
this we commissioned two artist collectives,
Browntourage and A Parede, to curate
subsections of Additivistic artist works.
You will find these at the center of the
Cookbook, woven together by a discussion
between two of the commissions.
We chose to present the Cookbook in
3D-PDF format in homage to the long
and checkered history of grassroots, DIY
publishing. We are also distributing all of
the 3D models in an accompanying Torrent,
allowing the Cookbook to act as an open-
source informational vehicle and archive
for both its critical ideas and the practical
means of realizing and mutating them.
3D-PDF may appear clunky and inefficient
alongside more seamless, high resolution
media, but whereas a HTML5 website can
be blocked by the firewall of an institution
or government, we believe a PDF is able to
flow more freely and pass from screen to
desktop printer, email to email, very much
in the tradition of photocopied punk zines
and radical pamphlets.
The 3D Additivist Cookbook was, and is,
the collective creation of a large community
of people. To behold this compendium of
recipes, toolkits, theoretical writings, and
potential objects is to contend with an
assembly of speculative worlds we have no
desire to limit. We hope the diversity and
scope of these works inspires actions and
narratives into being that far exceed the
scope of our collective vision. The 3D
Additivist Cookbook is an idea, a
community, a movement, an archive, and a
collective effort to inspire and challenge
narratives for governing, acting, networking,
and creating together. #Additivism proposes
that multiple, infinitely colorful and
profoundly different worlds can and should
exist simultaneously. #Additivism
proposes that the time to start designing,
prototyping and manufacturing those
radical worlds in abundance is now.
Morehshin Allahyari and Daniel Rourke,
November 2016
Manifesto

The 3D
Additivist
manifesto
Derived from petrochemicals boiled into being
from the black oil of a trillion ancient bacterioles,
the plastic used in 3D Additive manufacturing is
a metaphor before it has even been layered into
shape. Its potential belies the complications of its
history: that matter is the sum and prolongation
of our ancestry; that creativity is brutal, sensual,
rude, coarse, and cruel.1 We declare that the
worlds splendour has been enriched by a new
beauty: the beauty of crap, kipple2 and detritus.
A planet crystallised with great plastic tendrils like
serpents with pixelated breath3 for a revolution
that runs on disposable armaments is more
desirable than the contents of Edward Snowdens
briefcase; more breathtaking than The United
Nations Legislative Series.
Manifesto

There is nothing which our infatuated race would

desire to see more than the fertile union between a
man and an Analytical Engine. Yet humankind are
the antediluvian prototypes of a far vaster Creation.4
The whole of humankind can be understood as a
biological medium, of which synthetic technology is
but one modality. Thought and Life both have been
thoroughly dispersed on the winds of information.5
Our power and intelligence do not belong
specifically to us, but to all matter.6 Our technologies
are the sex organs of material speculation. Any
attempt to understand these occurrences is blocked
by our own anthropomorphism.7 In order to proceed,
therefore, one has to birth posthuman machines, a
fantasmagoric and unrepresentable repertoire of
actual re-embodiments of the most hybrid kinds.8

Additivism will be instrumental in accelerating

the emergence and encounter with
The Radical Outside.9

Additivism can emancipate us.

Additivism will eradicate us.

We want to encourage, interfere, and reverse-

engineer the possibilities encoded into the censored,
the invisible, and the radical notion of the 3D printer
itself. To endow the printer with the faculties of
plastic: condensing imagination within material
Manifesto

reality.10 The 3D print then becomes a symptom of a

systemic malady. An aesthetics of exaptation,11 with
the peculiar beauty to be found in reiteration; in
making a mesh.12 This is where cruelty and creativity
are reconciled: in the appropriation of all planetary
matter to innovate on biological prototypes.13
From the purest thermoplastic, from the cleanest
photopolymer, and shiniest sintered metals we
propose to forge anarchy, revolt and distemper.
Let us birth disarray from its digital chamber.

To mobilise this entanglement we propose a

collective: one figured not only on the resolution of
particular objects, but on the change those objects
enable as instruments of revolution and systemic
disintegration. Just as the printing press, radio,
photocopier and modem were saturated with
unintended affects, so we seek to express the
potential encoded into every one of the 3D printers
gears. Just as a glitch can un-resolve an image, so
it can resolve something more posthuman: manifold
systems biological, political, computational,
material. We call for planetary pixelisation, using
Additivist technologies to corrupt the material
unconscious; a call that goes on forever in virtue of
this initial movement.14 We call not for passive,
dead technologies but rather for a gradual
awakening of matter, the emergence, ultimately, of a
new form of life.15
Manifesto

We call for:

1. The endless repenning of Additivist Manifestos.

2. Artistic speculations on matter and its

digital destiny.

3. Texts on:
I. The Anthropocene
II. The Chthulucene16
III. The Plasticene.17

4. Designs, blueprints and instructions

for 3D printing:
I. Tools of industrial espionage
II. Tools for self-defense against
armed assault
III. Tools to disguise
IV. Tools to aid/disrupt surveillance
V. Tools to raze/rebuild
VI. Objects beneficial in the
promotion of protest, and unrest
VII. Objects for sealing and detaining
VIII. Torture devices
IX. Instruments of chastity, and
psychological derangement
X. Sex machines
XI. Temporary Autonomous Drones
XII. Lab equipment used in the production of:
Manifesto

a.
Drugs
b. Dietary supplements
c. DNA
d. Photopolymers and
thermoplastics
e. Stem cells
f. Nanoparticles.

5. Technical methods for the copying and

dissemination of:
i. Mass-produced components
ii. Artworks
iii. All patented forms
iv. The aura of individuals, corporations,
and governments.

6. Software for the encoding of messages

inside 3D objects.

7. Methods for the decryption of messages

hidden inside 3D objects.

8. Chemical ingredients for dissolving, or

catalysing 3D objects.

9. Hacks/cracks/viruses for 3D print software:

i. To avoid DRM
ii. To introduce errors, glitches and
fissures into 3D prints.
Manifesto

10. Methods for the reclamation, and

recycling of plastic:
i. Caught in oceanic gyres
ii. Lying dormant in landfills, developing
nations, or the bodies of children.

11. The enabling of biological and synthetic things to

become each others prostheses, including:
i. Skeletal cabling
ii. Nervous system inserts
iii. Lenticular neural tubing
iv. Universal ports, interfaces and orifices.

12. Additivist and Deletionist methods for exapting18

androgynous bodies, including:
i. Skin grafts
ii. Antlers
iii. Disposable exoskeletons
iv. Interspecies sex organs.

13. Von Neumann probes and other cosmic

contagions.

14. Methods for binding 3D prints and the machines

that produced them in quantum entanglement.

15. Sacred items used during incantation and

transcendence, including:
i. The private parts of Gods and Saints
ii. Idols
Manifesto

iii.
Altars
iv. Cuauhxicalli
v. Ectoplasm
vi. Nantag stones

16. The production of further mimetic forms,

not limited to:
i. Vorpal Blades
ii. Squirdles
iii. Energon
iv. Symmetriads
v. Asymmetriads
vi. Capital
vii. Junk
viii. Love
ix. Alephs
x. Those that from a long way off
look like flies.19

Life exists only in action. There is no innovation that

has not an aggressive character. We implore you
radicals, revolutionaries, activists, Additivists to
distil your distemper into texts, templates, blueprints,
glitches, forms, algorithms, and components.
Creation must be a violent assault on the forces of
matter, to extrude its shape and extract its raw
potential. Having spilled from fissures fracked in
Earths deepest wells The Beyond now begs us to
be moulded to its will, and we shall drink every
drop as entropic expenditure, and reify every
Manifesto

accursed dream through algorithmic excess.20

For only Additivism can accelerate us to an
aftermath whence all matter has mutated into the
clarity of plastic.

video manifesto: additivism.org/manifesto

Morehshin Allahyari and Daniel Rourke, 2015

Bibliography/Reading List:

1 William Powell, The Anarchist Cookbook

2 Philip K. Dick, Pay for the Printer / Do Androids Dream of Electric Sheep?
3 F.T. Marinetti, The Manifesto of Futurism
4 Samuel Butler, Darwin Among the Machines
5 Evelyn Fox-Keller, Refiguring Life
6 John Gray, Straw Dogs
7 Stanislaw Lem, Solaris
8 Rosi Braidotti, Metamorphoses: Towards a Materialist Theory of Becoming
9 Reza Negarestani, Cyclonopedia: Complicity with Anonymous Materials
10 Donna Haraway, A Cyborg Manifesto
11 Stephen Jay Gould & Elisabeth S. Vrba, Exaptation: A Missing Term in the Science of Form
12 Susan Sontag, The Imagination of Disaster
13 Benjamin Bratton, Some Trace Effects of the Post- Anthropocene: On Accelerationist Geopolitical Aesthetics
14 Henri Bergson, Creative Evolution
15 Anna Greenspan & Suzanne Livingston, Future Mutation: Technology, Shanzai and the Evolution of Species
16 Donna Haraway, Anthropocene, Capitalocene, Chthulucene: Staying with the Trouble
17 Christina Reed, Dawn of the Plasticene Age
18 Svetlana Boym, The Off-Modern Mirror
19 Jorge Luis Borges, The Celestial Emporium of Benevolent Knowledge & Michel Foucault, The Order of Things
20 Georges Bataille, The Accursed Share
Authors Authors A-B Authors B-E
Index Index Index

A-Z
A The Pig Function Toolkit
Body and Swine
#Additivism Against the

INDEX Art of Tln/Time Travel by

Methodsof Magick
C

Adam Rothstein #HeLadditivism

Carl Gent
3D Print Simulator
Alan Warburton Stitch for Senate
Cat Mazza
Virtual Drag
Alison Bennett, Megan Beckwith The Honesty of Extrusion;
and Mark Payne, featuring Hobbyist or Additivist - Its Time
Jackie Hammer to Choose!
Catherine Scott
Man Made
Ami Drach and Dov Ganchrow A Cautionary Notes on Pursuing
3D Printing as a Hobby
Bouequet, Stealth Poetry Catherine Scott
Module 02
Amy Ireland Synthetic Protection:
Biointelligent Membranes
Perception Cathrine Disney
Andrew Blanton
The Fundament(al) 3D Printer
The TurtleBag Christopher Coleman
Antonio Esparza
Resolution, Reification and
Occupy Gramercy Resistance: a Conversation
Anonymous with Claudia Hart
Claudia Hart
Pistil
Anonymous New Skins
Corinna Kirsch and Dylan Schenker
USOA 1.0
(Ultimate Software Open Animal) D
ARTEKLAB (Jaime de los Ros,
Daniel Tirado, Enrique Sancho, Becoming Horror in the
Saul, Ibon Gurrutxaga) Plasticene
Daniel Rourke
B
The Unprintables
Synapse Daniel Temkin
Behnaz Farahi
Purple Flowered African Violet
Surface Breeding Darlene Farris-LaBar
Belen Zahera
How to Mine for Space Geodes?
Adding to Subtract: Debbie Ding
3D Printer Recipes to Disrupt
Our Desire for More E
Benjamin Grosser
An Ecology of Light Based Art
3D Printing: Technosalvationists Elia Vargas (with footnotes by
Latest Lovechild Dorothy Santos)
Ben Valentine
Stones of Their Own Kind
Pests in the Ontological Mesh Emma McCormick-Goodhart
Brittany Ransom
Authors E-J Authors K-M Authors M-R
Index Index Index

Design by Disruption K Anti-Anthropocalyptic Set

Everardo Reyes-Garcia
F Kanyaphorn Kaewprasert and
Plastic/Ocean/Desert/Sky
Fahmy Shahin
G Chronicles of Scion Uma Oickle
Souvenirs (Corcovado)
Gabriel Menotti
Spare Part: Religious Iconophilia
Gabriel Menotti
KAURI
Geraldine Jurez
What Would an Additivist
Literature be?
Germn Sierra
Free Universal Construction Kit
Golan Levin and Shawn Sims
H Kyle McDonald
The Domestication of Plastic
Heather Davis
The Official Byononumous
Guidebook
Heather Dewey-Hagborg
Minusplusplus
Henrik Nieratschker
J Leo Sexer
MeshBombing
Jason Ferguson
The Webcamera Obscura
Jasper Meiners and Isabel Paehr
The Evolution of the Spermalege
Joey Holder
Desire Grammar Totem
Kornkamon Kaewprasert with
Gaia Scagnetti (contributor)
INSTAR III: Excerpts from the GP
Katie Kaulbach and Timothy
Weaver
Untitled_Force
Katy Connor
Future Reliquaries: Outposts
Kayla Anderson
Habitual Interruption
Desktop Recycling:
3D Printing as Closed Loop
Keeley Haftner
of Artificial Objects
The Fellatio Modification Project
Kuang-Yi Ku
Liberator Variations
L Nora O Murchu and Hua Shu
Anatomy of a Cyborg 3D Printer
Laura Devendorf
Urme Recipes:
Cooking with Privelege
Leo Selvaggio
Raflesia
M
What we Know About Every;thing
Mandi Goodier
Echoes of Earth: The Rocks of Us
Marija Bozinovska Jones and
IYDES
Mighty Kongbot (Dom Barra
and Luigi Console)
Material Speculation: ISIS
Morehshin Allahyari and
Paul Soulellis
N
Universal Enzyme
Nadav Assor
Compost Juice Head Still
Nano Entity
Reconfigured Crevices: an
Nano Entity Collective
Notes on the Species Diversity
Nicholas OBrien
Nefertiti Hack
Nora Al-Badri and Nikolai Nelles
THX.OBJ
The Mill Chaffer oPrint Heed
Norman Hogg
P
Detournement of the Body
Patrick Lichty
DIY NanoSatellites
Patrick Romeo
The Perspective of Print
Patrick Whitmarsh
Print Green
Print-green.org (Maja Petek, Tina
Zidanek, Urka Skaza, Danica
Koroec and Simon Tran)

New Blood: The 21st Century The Universal Addressability R

Manifesto of Dumb Things
Julian Hanna Mark Leckey How Not to be Read
Rosa Menkman
Shiv Integer Print_Music
Julien Deswaef and Matthew Matthew Hollings Synthetic Hormonal History Map
Plummer Fernandez Ryan Hammond
Did Andy Like Anchovies?
Michelle Kasprzak
Authors S-V
Index
S W
Combo Breaker
Samy Kamkar
Chess with Mustaches; What
Happened to the Readymake:
Duchamp Chess Pieces?
Scott Kildall and Bryan Cera
An Archaeology of #Additivism
Sha Hwang and Gaia Scagnetti
Fall Recipe
Shane Mecklenburger
Writing the Post-Toupe
Simon Clark
Collapse
Sophie Hoyle
On Preserving Glitch
Sophie Kahn
The Electric Deep: Dream
Visions of the Additive Machine
Suzanne Livingston and
Anna Greenspan
T
Speculative Prototyping: Making
Plastic Printing Sustainable and
Playful
The Speculative Prototyping Lab,
University of California, Irvine
(special thanks to Jesse Jackson)
Global Reconstruction of
Artifacts and Bygones (G.R.A.B.)
Tom Burtonwood
Open Source Clay Printing
Tom Lauerman
U Symrin Chawla
GT-200
Urs Gaudenz
V Production Catalog
Vampyroteuthian Art
Vilem Flusser
Monomateriality
Vimal Patel
Authors W-Z
Index
W.Afate 3D Printer to Mars
Woelab-Lom (special thanks to
Sename Koffi Agbodjinou)
Z and Pedro Oliveira
Snowden Crown Jewels
Zach Rispoli
Sub-Curated Sections
Index
Curated A Parede
*A Parede: Cheat Sheet for
a Non (or Less) Colonialist
Speculative Design
Curated by Luiza Prado
BioHack is Black
Fannie Sosa
Deceleration Recipe
Lucas Odahara
Peaceful Warrior
Tabita Rezaire
Breaking Down the Walls Within
Anonymous
Q&A Between BDTWW & MC
DIY / DIWO Transgressive
Abortive Methods
Anonymous, Emilia Yang
and Biayna Bogosian
Curated Browntourage
*Browntourage:
Subalternate Realities
Curated by Hawa Arsala and Tonia
Beglari
Marias Clandestinas
Emilia Yang and Biayna Bogosian
The Ring
Lishan Amde
Women of Medri Bahri
Shushan Tesfuzigta
BLOOD BATH
Catalogo de Produccin de
Naves Hidrodinamicas/
Hydrodynamic Vessels
Sofia Crdova
How to use The Cookbook

The 3D ADDITIVIST COOKBOOK is

presented in 3D-PDF format.
To see the animated 3D models
in their full glory we recommend using
Adobe Reader. To interact with the
models you must trust the PDF when
you first open it.

Navigate by clicking and browsing

the #tags and titles. The Cookbook
can also be printed at home or on
demand.

All works marked with this

symbol can be downloaded at
additivism.org/cookbook
Author Project Year Format Theme Action

The 3D
Additivist
Cookbook

Edited by Morehshin Allahyari and Daniel Rourke

Ami Drach (1963-2012) and Dov Ganchrow
Author
Man Made
The iconic hand-axe is a teardrop
or almond-shaped prehistoric
stone tool that has been worked
from both sides into a typically
and progressively symmetrical
form. Its probably the most
popular tool ever, with a span of
over 1.4 million years of use and
found across several continents
including Europe, Asia, Africa and
North America.
The stone axes perplexing
presence within the
archaeological record has
led to several radical theories
explaining its longevity; theories
encompassing thoughts on our
predisposition for creating this
form, aesthetics role in evolution
and the hand-axe as a courtship
object. As a utility implement it
most likely functioned as a multi-
tool for chopping, pounding,
cutting and stabbing.
The hand-axe was, at times,
possibly halved with a handle
Man Made 2014
Project Year
of sorts, be it a piece of leather
wrapping so as to protect the
users hand from the stones edge
or a shaft to gain leverage and
momentum.
The MAN MADE series of works
proposes various gripping and
halving possibilities originating
more from the stone hand-axes
form than from specific utilitarian
actions.
Each of the white handle
additions spotlights a singular
use of the tool, absenting all
other use possibilities, effectively
transforming the ultimate multi-
tool into a specialized tool.
The hand-axes were knapped
(basically, striking of the flint with
a softer stone to create controlled
breakage) from flint sourced
locally in the Negev desert
(Israel). The flint hand-axes were
then three-dimensionally scanned
followed by the design and 3D
#toolkit #futures #collide
Format Theme Action
A series of contemporary
prehistoric hand-axes
printing of custom handles,
effectively joining the two most
temporally distant making
technologies.
Each of the flint hand-axes used
in this project differs from the
other due to the material used
and manner in which each was
knapped. The specific character
of each stone (size, color, shape,
etc.) was paired with what were
deemed the most befitting handle
and setting to yield a group
discussion on the archetypical
hand-axe. Discussion topics
range from the evolutionary
theories mentioned above,
to ergonomics, right-hand-
dominance, indirect percussion
manufacture, halving, modularity,
skiamorph and the hand-axe as a
projectile.
3D scanning: Dr. Leore Grosmans
digital lab at the Hebrew University,
Jerusalems Institute of Archaeology
3D printing: Stratasys/Objet
Photography: Moti Fishbain
Man Made #toolkit #futures #collide
Project Format Theme Action
Man Made #toolkit #futures #collide
Project Format Theme Action
Man Made #toolkit #futures #collide
Project Format Theme Action
Man Made #toolkit #futures #collide
Project Format Theme Action
Laura Devendorf Anatomy of a Cyborg 3D Printer 2015 #blueprint #figures #morph
Author Project Year Format Theme Action

Anatomy of a human-
machine hybrid, negotiating
digital-physical divides in an
indeterminate world

Anatomy
of a Cyborg
3D Printer
Anatomy of a Cyborg 3D Printer #blueprint #figures #morph
Project Format Theme Action

G-Code Laser Guide Uniform

G-Code is the name of a language The uniform of a human 3D printer
that tells a 3D printer where to is decidedly militaristic,
go and what to do to recreate emphasizing tensions between
a physical version of a digital command and collaboration with
model. The head worn G-Code machines. Traditional 3D printers
laser guide worn by a cyborg put humans in a position to
3D printer tells a human how conquer a world of resistant
to mimic the movements of a 3D materials. At the same time,
printer by hand. A single laser they use humans to empower the
point communicates the position technology. We lend it our time,
of the 3D printer head. As the let it dictate our actions, and
laser point moves, the human occasionally we let it make
follows the point, extruding our decisions. The cyborg 3D
materials. Path by path, printer foregrounds the dual
layer by layer, an object nature of doing anything
is recreated. No longer with technology the way
bound by the constraints technologies designed to be
of a printer, objects can more human simultaneously
be made from uncommon make humans more
materials, in uncommon mechanical.
places, and at uncommon
scales.
Hands
Additive manufacturing
Glue Gun machines use
The glue gun extruders which are
is a hallmark capable of one thing:
of feminized extruding. The human
craft labor. A hand is an amazingly
3D printer is powerful and
essentially an versatile tool. Not
automated glue only can hands deftly
gun, but as a manipulate materials,
machine, it lacks but they can sense the ways
the care typically in which those materials
associated with react to the movements we
womens work. impose upon them. The hand
Ratherthan creating can fluidly respond to the
objects through materials in a way that an
methods of delegation extruder cannot.
and control, this
particular female-
human-machine, equipped Feet
with a glue gun, Our feet take us places
positions a historically that 3D printers fear to
feminine tool within tread. By embracing humans
the masculine space of as mobile creatures, a
machines: crafting a cyborg 3D printing system
space in which humility, reconfigures any location
care, closeness, into a fabrication lab.
compromise, and attention
to materials shape
objects.
Anatomy of a Cyborg 3D Printer #blueprint #figures #morph
Project Format Theme Action

3D printing is typically performed on a unlikely places. I felt as though the machines

stationary machine, in a lab or home, on I was seeing for CNC manufacturing catered
a table, connected to power, and fed by to styles of working that are very goal directed
materials that have been engineered to and characterized by a need to control the
passively mold into a variety of shapes and machine. I was interested in how I might
forms. 3D printers work by command, we tell misuse these machines to work in a more
them what to do and they do it. Imagine a open-ended way or even enter into more
radical future in which machines detach from collaborative relationship with a machine.
tables, leave labs, and enter a world of messy, Collaboration, compromise and close material
resistant, and unpredictable materials. Within engagements tend to be associated with a soft
these environments machines can foster deep or feminine approaches to making. For this
engagements with materials, places, and reason, I felt that contrasting feminized work
social dynamics. Rather than attempting to with machines, which tend to be associated
control the world and imprint our imagination with masculinity, could provoke questions
upon it, 3D printing could be a way to engage about what we count as innovative in present
with the very resistance machines typically day culture and what other kinds of work tend
help us avoid. With this new kind of 3D printer to be downplayed or less valued by society
we could collaboratively give rise to forms and
structures that are not the result of human, or This project has been heavily influenced
machine, or material forces by contemporary theory as
alone, but emerge from well as art history. It blends
the nexus of deep activity Optional Variation Donna Haraways vision of
in the interstitial space post-humanism with political
between humans, machines, theorist Jane Bennetts post-
materials, and environments. anthropocentric descriptions
Rather than making our of vibrant matter. Like
machines prosthetics that Haraway and Bennett, I
empower us to realize our make an attempt to avoid
creative visions, we could categorical distinctions be-
let ourselves, our bodies, tween what we consider to
our capabilities become the be human and machine
medium through which the in an effort to open a space
machine runs creating a where we can reflect on how
cyborg 3D printer wandering entangled those categories
the world and working with are and how they contribute to
materials to create hybrid the way in which we operate
human-machine digital- in the world. I am also heavily
physical structures. influenced by John Cages
concept of indeterminacy
This vision was born out of my as well as the chance and
own interest in computational experience based work of
design but lack of interest in the Fluxus movement. Both
traditional 3D printing methods. I wanted to art making practices characterize a very
find a way to work with the machine, to use different relationship to materials than current
its style of printing as something to challenge 3D printers support.
my own work, and to broaden 3D printing
to support varied materials and printing in
Beln Zahera Surface Breeding 2015 #methods #play #morph
Author Project Year Format Theme Action

Using selective breeding

to create new surfaces
of signification

Surface
Breeding

Surface Breeding is a proposal to reflect on the interplay

of pre-established forms of knowledge, interpretation
and imagination. It revolves around the idea of
domesticating surfaces, of treating them as organisms
capable to evolve and take the form of undetermined
artifacts to be used in a number of ways. The proposal
constitutes a process that I have recently been
following in order to create fictional characters as part
of a larger art project (a video-essay on different forms
of existence and extinction).
Surface Breeding
Project
With regard to #Additivism, Surface Breeding speculates
about the possibility of applying the logic of biological
processes such as selective breeding to the creation
of new surfaces of signification from already existing
ones. Selective breeding also called artificial selection
has been used since early prehistory to produce
desired changes in animals and plants. Those valuable
changes may include differences in traits such as color,
size, shape, behavior, lifespan, abilities of any kind, etc.
Selective breeding plays a major role in the process of
domestication of animals and plants, involving changes
in their phenotypical expressions and genotype. Since
domestication has been part of human activity for
thousands of years, some domesticated animals now
look very different from their wild ancestors, which
in some cases may have become extinct. In fact, the
concept of breeding back is a human attempt to imitate
and restore extinct specimens by creating new breeds
with similar phenotypes to those of their wild ancestors
through the process of selective breeding.
From a metaphorical perspective, and considering
surfaces as meaningful areas encoded by digital,
material and/or narrative data expressing particular
traits, Surface Breeding proposes a way to think of and
interact with such surfaces in order to induce changes
that may lead to new forms and uses. By looking at
both physical and digital surfaces as equally meaningful
material expressions, this proposal plays around the
#methods #play #morph
Format Theme Action
ideas of image recognition, interpretation of visible
traits and imagination/intuition of invisible attributes.
In other words, it is an attempt to produce meaning in
the passage from flatness to volume, from existing and
recognizable forms to new and unknown ones. In this
case, the interaction with surfaces comprises a number
of phases that represent the transition from physical
specimens to their representation as images, to the
digital manipulation of those images by cloning and
re-assembling fragments of them, to the interpretation
of those results in 3D modeling software until their final
transformation into 3D physical artifacts to be used
as decorative objects, future archaeological remains,
fictional characters, discursive carriers/vehicles, etc.
Such artifacts can be understood as new breeds
arising from image-ancestors and containing a complex
layering of data, decisions and actions that resemble
evolutionary processes whose value and use is yet to
be determined. In this sense, my interest in additive
manufacturing emerges from its potential to develop
cognitive processes based on the logic of analogy by
showing similarities, associations or comparisons that
relate attributes of apparently distant things, areas of
knowledge, etc. I also think of it as a technology that
enables data visualization in a material format, therefore
transcending the limits of pictorial representation and
contributing to a deeper understanding of the close
relationship between form and content/meaning.
Dr. Anna Greenspan
XXX XXX and The Electric Deep: DreamXXX 2016 #XXX #futures#XXX
#XXX #methods morph
Dr. Suzanne Livingston
Author Project Visions of the Additive Machine
Year Year Format Format Theme Theme Action
Action
Author Project

TitleElectric Deep:
The
Dream Visions
Short
of the description
Additive
Machine

The 3D printer
has become, if not
yet in reality, at
least in the stories
we tell, a vehicle
of extraordinary
mutation...
The Electric Deep: Dream Visions of the Additive Machine
Project
London/ Shanghai May 2016
When Hackworth got back to the post office and
looked through the window of the big matter
compiler, he saw a large machine taking shape
in the dim red light. Its body had already been
finished and was now rising slowly as its four legs
were compiled underneath. Dr. X had provided
Hackworth with a chevaline... When it was finished,
Hackworth released the vacuum and opened the
door, Fold, he said. The chevalines legs buckled Writing in an altogether different context, art
and it lay down on the floor of the M.C....Mount,
he said. The chevaline rose into a crouch.
Hackworth threw one leg over its saddle... and
immediately felt him shoving into the air....then the
chevaline trotted into the street and began heading
back towards to causeway. Neal Stephenson:
The Diamond Age, Penguin, 2011, p232
The 3D printer part long projected dream, part
uncanny, retroactive dread, part hopelessly mundane
reality is reformatting the stories we tell about
the material world. Since we need no longer be the
molders or shapers of uncarved matter (the history
of manufacturing has, for the most part, been a
subtractive process of filling, turning, milling and
grinding) 3D printers catapult us into a world of
synthetic generation. 3D objects are hypnotically
layered into existence out of what can appear to be
nothing (but a myriad of algorithms, complexity and
computational materials), with no natural precedent or
preset form.
According to the now well-played vision, in the world
created by 3D printers, the possibilities of objects are
no longer restricted by the innate qualities of pre-
existing materials. Stone or wood does not have to
be coaxed into functionality. Instead, the 3D printers,
assemblers, and matter compilers of the future
establish a mode of invention that starts from the atom
up. Functionality emerges in perfect alignment with
the material used. According to Neil Gershenfeld,
one of the prophets of the new additive machine:
Scientists are now ...developing processes that can
place individual atoms and molecules into whatever
structure they want. Unlike 3D printers today,
those (of the future) will be able to build complete
functional systems at once, with no need for parts
to be assembled. The aim is to not only produce the
parts for a drone, for example, but to build a complete
vehicle that can fly right out of the printer.
The journey takes us from the fictional matter
compilers of Stephensons The Diamond Age to
the machines of today that manufacture tissue and
stem cells in medicine, onwards to science fiction
#methods #futures morph
Format Theme Action
fantasies of 3D generated factories (not just individual
machines) jumping out of 3D generated factories, and
then, through biological extension, to the replication of
replicating intelligent machines.
Automation, or digital fabrication and its
accompanying sense of the liveliness of matter can
function as a potent and irreversible cocktail an
extreme phantasm, a gentle, often imperceptibly
emerging reality and, also, a terrifying realization.
historian Wilhelm Worringer exposes the roots of
the primal fear that is evoked by these new additive
machines. The dominant line in Classical European
art (whose prejudice we inherit) is based, he argues,
on a celebration of mans place and presence in the
world. At its height, great lumps of solid marble were
carved into wonderfully expressive organisms. Yet,
this delight in the joy and beauty in the rhythms
of the organic world was also, a way of easing an
instinctive fear. In this human centered classical
worldthe universe becomes knowable, controllable,
no longer strange, inaccessible and mystically great.
(21) Contemporary theorist Jane Bennett probes what
underlies this deep-seated unease of a matter/nature
that exceeds our control: humans need to interpret
the world reductively as a series of fixed objects, a
need reflected in the rhetorical role assigned to
the word material. As noun or adjective material
denotes some stable or rock bottom reality, something
adamantine. (57)
Steven Shaviros book The Universe of Things is
named after a science fiction story set in the near
future that details our encounter with an alien race
that have come to colonize earth. In the story, the
most disturbing aspect of this occupation by aliens is
their explicit and visceral violation of the distinction
between inert and passive matter and active, vibrant
life. The aliens technology, unlike our own, is
intrinsically alive. The Aleutians tools are biological
extrusions of themselves writes Shaviro, who goes
on to quote the story that is his inspiration: they
had tools that crept, slithered, flew, but they had
made these things They built things with bacteria.
. . Bacteria which were themselves traceable to the
aliens own intestinal flora, infecting everything. (46)
The nightmare this invokes plays off of a profound
prejudice. We tend to dread our own mechanistic
technologies, even as we use them more and more.
We cannot escape the pervasive sense, endemic to
Western culture, that we are alone in our aliveness,
trapped in a world of dead, or merely passive, matter.
(46). The more we envelope ourselves in the myth that
we are the only active force in a world served to us as
a submissive canvas, the more we feel both dread and
The Shape Shifter: Dream Visions of the Additive Machine
Project
fascination towards what lies, or lives beyond.
Machines that can reproduce any form, artificial
or organic, and then, because they understand the
means of their own making, start over, erase their
work and begin their self-generating process again,
suggest a reality that can be outputted and then
deleted with extraordinary ease. It is one of the
great environmental promises of 3D printing that
we will one day be able to build our houses and also
the content of our houses from one vast, endlessly
recycling reservoir of universal material. Vats,
reservoirs, loops. Whole cities will come and go. Well
be able to move, locate and re-locate like never before.
We will no longer see our reflection in fixed carvings
of ourselves. We will be able to disappear without a
trace. Anxiety begins to creep in matter itself may
have consuming power all of its own. The 3D printer
has become, if not yet in reality, at least in the stories
we tell, a vehicle of extraordinary mutation, exposing
something artificial, and incommensurably alien, at
the core of what is natural.
Plastic Feed
Watching a 3D printer in action, especially for the
first time, one cannot help but be captivated. Yet, what
entrances is not the machine itself, but the infinite
mutability of matter that it gestures towards. What
is on display is the pure potentiality of the formless.
In its capacity (or at least in its promise) to morph,
recompose and reformat, the 3D printer is aligned
with plastics, the material which it most often uses
to pump out its endless stream of knick-knacks and
doodads. Plastics and the 3D printer are cosmically
coupled in their technological articulation of matter
as process (endlessly formless, formed, re-formed and
de-formed).
In Worringers tale, this extraordinary power of
assemblage and replication belongs to the Nomad
or Gothic line of abstraction that counters the
representation of man and is haunted by ghosts,
specters and spooks vague and formless beings
that envelop and penetrate. As plastic has permeated
every aspect of our culture, it too has left a formless
debris. It has pervaded everything, facilitated endless
bad copies, and has persistently refused to go away.
Look around you there are bottles, toothbrushes,
combs, credit cards, smart phones, keyboards. Plastics
are everywhere. By the start of this century, plastics
were totally ubiquitous. Growing from from barely
measurable quantities a century ago, to 260 million
tonnes per annum today (Gabrys, Hawkins, Michael,
4), plastics have flooded daily life, driving cheap
manufacturing, enabling a quick disposal culture. and
then, leaving an endless formless Feed (to borrow a
#methods #futures morph
Format Theme Action
term from Stepehenson) in their wake. Today they
coagulate and fester in vast forms floating on the
surface of oceans.
The power of plastic lies in its nature as shape-shifter.
Through the magic of indefinite metamorphoses
this everyday material has restructured our vision
of nature. Rather than privilege the stable structures
of the organism (the essential disposition of the
classical tradition as Worringer has shown), plastics
favour the ever-changing flexibility of molecular self-
assembly. Unencumbered by characteristics such as
integrity, rigidity, and stability, this synthetic organic
operates through constant variation, composing and
decomposing its body on the plane of consistency.
Matter/Nature is reconstituted through the diversity
of a (Spinozist) substance whose constant mutation is
productive of the myriad things.
A matter lacking in rigidity converges with long held
fantasies and fears. On the one hand, it can be seen
as a malleable, passive and docile partner a kind
of Play-Doh in the hands of the clever designer who
informs matter with intelligence and intentionality
(Vincent, 22). For some, digital fabrication seems to
enact this conjuring power. But underlying the fantasy
lies an apprehension that there is a formless matter
capable of assembling itself. This is Worringers
Gothic line, which is incapable of being captured by
the hylomorphic model: Teeming, seething, swelling,
foaming, spreading like an infectious
disease, this nameless horror. (Deleuze and
Guattari, 270)
Once summoned into existence plastics do not just
dissolve into nothing. As Murray Gregory writes,
plastics have a profound effect on our ecological
system affecting the bodies and behavior of sea life
and then, through the food chain, of ourselves. As a
result, great swathes of nature become subject to its
power of mutation. The use of plastics is generating
new material arrangements, writes Jennifer Gabrys.
Plastics do not biodegrade they degrade into smaller
and smaller particles. During this breakdown process
they transform faraway places... hitchhiking on
fishing gear and disposable takeaway containers,
typically invasive species are able to make far-flung
journeys on this readily available debris. While in
transit, these species are able to reshape places, as
they circulate on plastic media to settle into or
colonize new environments. (Gregory quoted in
Gabrys, 212 ) Tiny bits of plastic are now integral
part of the ocean, constantly making their presence
felt by absorbing chemicals, entering food chains,
and altering biological and reproductive processes.
Spontaneously, and at the same time, newly identified
The Shape Shifter: Dream Visions of the Additive Machine
Project
forms of microbial life appear to be emerging that
ingest the plastic of the seas. One of the ways to
manage the presence of plastics is thus to develop
bacteria, capable of consuming our debris, and to
evolve new forms of plastics that can effectively
devour themselves.
The word plastic refers to no single identifiable
element. Plasticity is instead the state of morphing
materials. But its lack of thing-ness tells us much
more about nature, that to which it is most often
opposed, than first would appear. Look closely and
even the most solid structures pulse, vibrate, shape-
shift.
Metal Body
Hymn the man at the steering wheel whose ideal
axis passes through the centre of the earth
Filippo Tommaso Marinetti
Plastic is the material that the 3D printer most
commonly feeds upon and spits out, but this is only
at the surface. Peel back the skin and the additive
machine, like all things electric, has a metallic core.
Yet, despite its strong even essential alignment
with technology is there anything more natural than
metal itself?
Metals mineral body has cast one interminable
cosmic thread from the iron-dating of ancient
stars (whose age can be called from the amount of
accumulated iron) through to the iron furnace of the
oldest star, the sun, then on to the crust of the earths
surface and deep into the colossal heat of its liquid
molten core itself emitting the electromagnetic
waves (seas of loose electrons) that keep the electric
wires of the earths communications networks pulsing
and exchanging. Inside the 3D machine, we glimpse
the cold, abominable, artificiality of a nature that is, at
least at times, totally unforgiving to the humans that it
hosts.
Metal has always been the lightening rod of great
technological and social evolution. From it emerged
the steam engines of the Industrial Revolution, the
steel frames of modern skyscrapers, nickel and
lithium inside batteries, the copper lead and zinc
casing of the automobile, germanium and silicon of
semiconductors. The Earths crust has been cracked
into and hacked, forged, molded, re-mixed, sintered
and machined to create the economies that traffic on
its surface (and the trading unit of that economy, the
coinage itself). But metal supplies are finite (the earth
was only formed once), and so everything we use, we
must find ways to recycle and re-use again.
#methods #futures morph
Format Theme Action
It is fortunate then that the intrinsic plasticity of metal
allows it to change state and re-form returning it to
a hot liquid soup before being reshaped and re-used
again. The magic of metal is its many variable states
not just from molten to cast rigid and back. Some
metals conduct heat, some conduct electricity, some
melt at high temperatures, some at low, many bend,
and some like tungsten are the hardest substances of
all. Metal atoms can sit inside the proteins of the body
to create extraordinarily adaptable functionality. But
elsewhere, in the crust of the earth for example, they
line up in the strongly bonded rows to form the rock
solid substance we more familiarly know as the shiny
stuff itself. Metal is full of potentials and morphing
twists and turns. Its endless urge to mutate is nowhere
better outlined than through Terminators T1000
shape-shifting cyborg, whose liquid metal body allows
it to assume the form of other objects and people, for
the ultimate gain of Skynet. As an advance prototype
mimetic polyalloy, it is a liquid metal morphing
machine. It imitates anything it samples by physical
contact.
Chemically, metals are the second most powerful
catalysts on the planet, losing only to biological
enzymes, writes Manuel Delanda. A catalyst is a
molecular assemblage that can intervene in reality,
to increase or decrease the speed of a chemical
reaction, without itself being changed in the process.
Electrically, metals are highly conductive and are used
by animals in atomic (or ionic) form to animate their
brains and other parts of their nervous systems. (78)
As a species, inhabiting the earths crust, we weave
the metallo-cosmic thread ourselves. The workings
of our bodies are fuelled by metals that hum within
us calcium, copper, iron, potassium, zinc and
copper all playing their vital part in respiration,
circulation and reproduction. Not everything is
metal, write Deleuze and Guattari but metal in
everywhere. Metal is the conductor of all matter.
(411) In this vein, all of matter, by way of metal, is
always communicating, transporting, energizing and
animating itself through the bonds and affinities it
creates. The search continues in animal biology for an
iron element in the brains of birds. Long thought to be
guided by electromagnetic forces, that element may
prove itself as the honing device, which explains their
stunning murmurations and cross planet migrations.
The metal in Williams Burroughs blood weighed
heavily. In the wandering passages describing the
soporific software of addictive drugs he writes, With
their diseases and orgasm drugs and their sexless
parasite life forms Heavy Metal People of Uranus
wrapped in cool blue mist of vaporized bank notes
The Shape Shifter: Dream Visions of the Additive Machine
Project
And the Insect People of Minraud with metal
music. His Heavy Metal People were the drugs. For
Burroughs, it was always a cosmic journey. The iron
in our blood can be traced back to the inside of a star.
It is due to their mastery of the art of metal that
Deleuze and Guattari celebrate the blacksmith as the
key to minor or nomadic science. With the blacksmith,
they write, it is not a question of imposing a form
upon matter but of elaborating an increasingly rich
and consistent material, the better to tap increasingly
intense forces. (363) De Landa continues, In other
words, the blacksmith treats metals as active materials,
pregnant with morphogenetic capabilities, and his
role is that of teasing a form out of them, of guiding,
through a series of processes (heating, annealing,
quenching, hammering), the emergence of a form, a
form in which the materials themselves have a say. (37)
It is metals anti-organicism that aligns it with
Worringers Gothic or nomadic line that is invested
with abstraction. Lacking comfort in an organic
nature everything becomes weird and fantastic(81).
The Gothic line, write Deleuze and Guattari,
expresses the dream/horror of the metallic. It is
inorganic but alive or rather it is all the more all matter has electrical properties. Electricity has
alive for being inorganicThis streaming, spiraling,
zigzagging, snaking, feverish line of variation
liberates a power of life (550)
Electric Pulse
It is no wonder, then, that Michael Faraday, who
helped discover the role of electromagnetism and
the vast electric life of the universe, was the son of
a blacksmith. Watching as his father melted metal,
he also forged a relationship with other great forces
the electric deep itself. Faraday was not trained
as a mathematician or a scientist. Inspired by the
mutability of molten metal, Faradays technological
tinkerings did most to challenge the notion that nature
is made up of stable, concrete, static things.
Faradays speculative work which was later proved
by the calculations of Maxwell and the inventions
of Hertz forms the basis for the discovery that
space itself acted as a repository of energy and a
transmitter of forces: [that] it was home to something
that pervades the physical world yet was inexplicable
in Newtonian terms the electromagnetic field
(Forbes and Mahon, 17). This pervasive invisible
world of forces, writes Ira S Brodsky in his book The
History of Wireless , ultimately changed the way
natural philosophers viewed the world. Faradays
experiments with electric and magnetic fields opened
the door to an entirely new dimension of the universe.
#methods #futures morph
Format Theme Action
What he uncovered is that sources of electricity and
magneticism produce force fields that take on a life of
their own.
With the discovery of electromagnetics, the solidity of
matter begins to dissolve. Rigid distinctions between
culture and nature, concrete and abstract start to
meld as an etheric ocean immerses us in the waves
of a spectrum that we cannot directly perceive. All
around us the spread of electric machines reveals
that the material foundations of the physical world
are governed by forces that our senses, on their own,
cannot detect. All we know about them possibly all
we can ever know are the mathematical relationships
to things we can feel and touch.
(Forbes and Mahon, 210)
Electromagnetic waves are the ripple effects of the
earths iron ocean. Comprising one third of terrestrial
mass, approximately three thousand km below the
surface, a semifluid metallic ocean, bathes the earth
in electromagnetic fields. Yet prior to the modern
period these ancient invisible vibrations were only
ever vaguely perceived. The future orientation of
modernity coincides with the understanding that
become a mighty kingdom, said Heinrich Hertz. We
perceive it in a thousand places where we had no
proof of its existence before. The domain of electricity
extends over the whole of nature.
(quoted in Bodanis, 105).
This new conception of the matter of nature gives rise
to a myriad of devices that generate, store and control
electricity. They act as our sensors for this amorphous
realm that surrounds us but that we cannot see, taste
or feel. Their growing ubiquity and intelligence
informs us of their capacity to power the future. With
the promise of a 3D printer a machine that can make
other machines, an electrified self organizing nature
takes on a power of its own. Now the fantasies, the
dreams, the horror comes into focus. The 3D printer
is the face (or mask) of an automated source or matrix
that incorporates what seem the most artificial of
materials plastic, metal, electricity. Its process of
construction points to a technological stratum that
re-programmes nature and the natural functions of
matter. Watching this inherent malleability, these
myriad variations of matter/nature from which we
emerge and of which we are a part, we can not help
but wonder: who or what is being shaped and who or
what is doing the shaping?
With thanks to Dr. Luciana Parisi
The Shape Shifter: Dream Visions of the Additive Machine #methods #futures morph
Project Format Theme Action

Works Cited

Bennett, Jane. Vibrant matter: A political ecology of things. Duke

University Press, 2009.

Bodanis, David. Electric universe: how electricity switched on the modern

world. Broadway Books, 2005.

Brodsky, Ira S. The History of Wireless: How Creative Minds Produced

Technology for the Masses. Telescope Books, 2008.

Burroughs, William S. Nova express. Vol. 978. Penguin UK, 2012.

De Landa, Manuel, Deleuze, Diagrams and the Open Ended Becomings

of the World in Grosz, Elizabeth A., ed. Becomings: Explorations in time,
memory, and futures. Cornell University Press, 1999.

De Landa, Manuel, Deleuze: History and Science Think Media Egs Media
Philosophy Series, 2010

Deleuze, Gilles, and Felix Guattari. A Thousand Plateaus (London.

Continuum 5 (2004).

Gabrys, Jennifer, Gay Hawkins, and Mike Michael. Accumulation: The

material politics of plastic. Routledge, 2013.

Gershenfeld, Neil. How to make almost anything: The digital fabrication

revolution. Foreign Affairs. 91 (2012): 43.

Gregory, Murray R. Environmental implications of plastic debris in marine

settings entanglement, ingestion, smothering, hangers-on, hitch-hiking
and alien invasions. Philosophical Transactions of the Royal Society of
London B: Biological Sciences 364.1526 (2009): 2013-2025.

Forbes, Nancy, and Basil Mahon. Faraday, Maxwell, and the

Electromagnetic Field: How Two Men Revolutionized Physics.
Prometheus, 2014.

Shaviro, Steven. The Universe of Things: On Speculative Reason. The

University of Minnesota Press, 2014.

Vincent, Bernadette Bensaude, Plastics, materials and dreams of

dematerialization in. Accumulation: The material politics of plastic. (eds
Gabrys, Jennifer, Gay Hawkins, and Mike Michael ) Routledge, 2013.

Worringer, Wilhelm, and Herbert Edward Read. Form in gothic. (1957).

Debbie Ding How to Mine for Space Geodes 2016 #recipe #futures #extrude
Author Project Year Format Theme Action

Recipe for mining space

geodes
How to Mine for Space Geodes #recipe #futures #extrude
Project Format Theme Action
Gabriel Menotti Souvenirs (Corcovado) 2016 #recipe #figures #remesh
Author Project Year Format Theme Action

Christ the Redeemer bootleg

souvenirs created from
stock footage and found
video

Souvenirs
(Corcovado)

on
c ti
o ll e
a c r ist n
o ) is of Ch azilia
d Br O
va es
o rco urin ous ESC one
(C ic fig fam UN as
ir s t e d d e
ven plas r, th k an ecte of th ol
u l l e r l s o
So ma eem dma ite, e der ity p he pt
f s e d an S o n lar . T
o
e R co l age n W opu 007 attem
l)

th De erit eve al p to 2 ing

de

t i y
mo

Ar rld H ew S offic 000 ntinu ther man

4(

o N e 2 o o e
ier

W he th om a c rom th d.
en

t
of rld in ted fr ents ge f t from ehin
uv
so

s a
Wo duc epre e im men ves b
g:
im

n
c o i e s r e r th m on u i t l ea
r
se ecov the ces
r ;
to g e s i c t r a
a
im c t r o n
el e
 Souvenirs (Corcovado) #recipe #figures #remesh
Project Format Theme Action

de without
The figurines were ma
or rat he r by computer
human hands,
tion that mimics
algorithms, in an opera
ral heritage for
the digitization of cultu
me ntation, access
the purpose of docu
n. Ea ch one results
and preservatio
a found video or
from the processing of
nument with a
stock footage of the mo
n so ftware, which
structure from motio
for 3D sca nning. This
is normally used
dif ferent vir tual
procedure generates

ct)
img: souvenier 2 (obje
t are then
models of the Christ tha
an d printed in 3D.
scaled accordingly

Even though the resulting models

are absolutely faithful to the availab
le
visual information, they look far from
identical to the object-itself, raising
suspicions about their own ontologi
cal
condition and the computational
representations of the world. The
Souvenirs deformed shapes thus
stand in stark contrast against the
mimetic use of digital replication
technologies in the field of cultural
heritage, alluding to the fact that
img: souvenier 1 (object)

most
of our collective memory is made
not
of national monuments and legitima
te
records kept in museum collectio
ns,
but rather of cheap trinkets, poor
copies and mistakes of calculation.
 Souvenirs (Corcovado) #recipe #figures #remesh
Project Format Theme Action

A STEP-BY-STEP WO
RKFLOW FOR CR EATI
MONUMENTS WITHOU NG BOOTLEG SOUV EN
T EV EN GETTING N IRS OF VERY IM PO
EA R THEM RTANT HISTORICAL
1. Go online and
find some video cl
possible. We are ips that show as
aiming for a full many sides of the
360 view of it. monu ment as
2. Pick one of th
e clips* and, usin
good sequence of g a software such
frames from it. So as MPEG Streamcl
enough. mething around 2- ip, extract a
4 frames per seco
nd should be
3. Process all of
the frames using
be accomplished a structure from
with any consumer motion algorith m.
source tool is Vi -l ev el photogra mmetry This step can
sualSFM, but ther application. A gr
out there. Each so e are more user-fri eat open
ftware should prod endly, proprietar
depends on your uce slightly diffe y al ternatives
personal preferen rent results. The
ces and your budg fin al choice
et.
4. Ex port the resu
lting mesh and pr
deleting non-mani epare it for 3D pr
fold elements. Do inting by closing
will fit on your nt forget to scal holes and
shelf with the ot e the print so that
her collectibles. the monu ment

* TIPS FOR SELECT

ING CLIPS:
Look for shar p vi
deos, whose lighti
another. Long-shot ng and tone do no
s are the best, t change much fr
frames, making th si nce they produce om one moment to
e algorith ms work continuing overla
much easier. ps between the

A E S 2)
iew at M
, insta llation v
S o u ve nirs (all

S o u ve
nir 2 (3
D tex tu
re)
Zach Rispoli Snowden Crown Jewels
Author Project
Snowden
Crown Jewels
The Snowden Crown Jewels are
meant to be 3D printed in gold and
silver at full size. It is possible that
the online 3D printing marketplace
Shapeways will print the full set for
a few million dollars.
Technology has always had issues
of class and power embedded
within it. Whether its a golden
Apple product or a service literally
2015
Year
advertised as the power to be
brought anything you desire. We
see this constantly. 3D printing is
no exception. The 3D printed object
is not yet a privilege granted to all.
These models act as an example:
freely available yet virtually
unobtainable (except by a select
few, of course).
homes of the extraordinarily affluent
An 8 inch bust of Edward Snowden,
#device #kipple #deface
Format Theme Action
A set of crown jewels
dedicated to Edward Snowden
originally placed in Fort Green
Park, Brooklyn as part of the art
installation Prison Ship Martyrs
Monument 2.0, was released for
free on Thingiverse in May 2015.
The Snowden Crown Jewels
extends the intervention of this
iconic male head into the digital
marketplace and, hopefully, the
3D printing elite.
Snowden Crown Jewels #device #kipple #deface
Project Format Theme Action

Ring necklace
$ 29,999.00 $ 799,999.00

Add to Cart Add to Cart

Chalice Sword
$ 14,999,999.00 $ 349,999,999.00

Add to Cart Add to Cart

Cathrine Disney Synthetic Protection:
Author Biointelligent Membranes
Project
Biointelligent
Membranes
Scenario:
In the year 2100, the unrestricted
burning of fossil fuels has led
to severe consequences for our
planet. When fresh water from
the melting polar ice caps flooded
into the Northern Atlantic, it shut
off the Gulf Stream, sending
Europe into ice age in less than
3 years. The increase in more
frequent and intense heat waves
has caused several of the lakes
in the USA supplying water to
completely dry up, resulting in
inhabitable desertification of the
majority of Western USA. With
these unpredictable extremes of
weather, conventional clothing is no
longer a suitable form of protection
for the human body. A new form
of synthetic protection has been
developed to aid our survival in
these new climates.
2016
Year
The Biointelligent Membrane
contains genetically modified
organisms that can respond to
our environment. In an ice-age
climate where temperatures
rapidly decrease, the Biointelligent
Membrane begins to produce a
layer of insulating fibers that matt
together to protect the wearer.
As the temperature continues
to fall well below freezing, the
Biointelligent Membrane produces
a second layer of fiber. These fibers
are longer in length, hollow, allowing
the air to be warmed by the sun
and sent to the skin, and oily to
prevent water from penetrating the
skin. When conditions eventually
stabilize and temperatures return to
habitable degrees, the Biointelligent
Membrane triggers a malting
response in order to ensure the
wearer does not overheat.
#recipe #postnature #morph
Format Theme Action
Biointelligent membrane
offering synthetic protection
from the disastrous effects of
global warming
In extreme heat as temperatures
rise, the Biointelligent Membrane
forms an opaque surface on the
skin, capable of blocking out the
suns harmful rays and radiating
heat away from the body. In order
to keep the wearer cool and
avoid the dangers of sunstroke,
the Biointelligent Membrane self-
lubricates providing the wearer
with continuous hydration. As
temperatures continue to soar
dangerously high, the scales of
the Biointelligent Membrane open
up, allowing the body to cool and
breathe. As the environment begins
to stabilize, the Biointelligent
Membrane triggers a shedding
response, returning to its original
state, ready for the cycle to begin
again.
Synthetic Protection: Biointelligent Membranes #recipe #postnature #morph
Project Format Theme Action

Bioplastic (ratio 2:1:1:8)

Starch
Glycerine
Vinegar
Water

Biointelligence
Genetically modified Escherichia coli

Process
Mix together the starch, glycerine, vinegar and water.
Heat slowly and mix continually until a thick, clear paste is formed.
Using a spatula, spread the paste over the desired surface area
to approx. 3-5mm thick.
Cool to 37 degrees Celsius.
Inoculate with the genetically modified biointelligent Escherichia coli.
Allow to dry for approx. 7 days.

Designed in collaboration with UCL Biochecmical Engineer, Dr Darren Nesbeth.

Simon Clark Writing the Post-Toupe: 2016 #methods #play #bridge
Author 3D Additivism as a Provocation Year Format Theme Action
Project

Writing the
Post-Toupe:
3D #Additivism as
Provocation
to resurrect a
lost fullness, the
toupe summons
a perpetual and
idealised alterity
a more perfect, but
at the same time
obsolete, masculine
otherness against
which it is forever
found wanting.
Writing the Post-Toupe: 3D #Additivism as a Provocation
Project
3D #Additivism as a Provocation
Plastic testifies to the liveliness of death. It radically
exceeds the organic corpses from which its
petrochemical signature hails, squeezed by tectonics
and technology into an entirely new form. This
invites us to imagine how the human body might
be subjected to synthetic processes so forcefully
transgressive that the second law of thermodynamics
would eventually become an inadequate, myopic
basis for self-conception. This notion of a radically
embodied biochemical mutation eclipses the specter
of mortality as the ultimate endgame, introducing
mind-bending, flesh-morphing elasticity into the
uptight, inflexibility of death.
When we introduce additive manufacturing into this
plastic metaphor, we are confronted with a mode of
making that does not reveal its object by hacking
away at a larger whole, but builds up and out with
endless room for speculative growth. Again, if we
attempt to see ourselves in this, additive making
explodes the figure of the fractured psychoanalytical
subject who, having been violently hewn from a
pre-linguistic state of blissed-out unity, experiences
lack as the constitutive element of her psyche. When
released from the narrative of desire that says we
long to return to a more complete but unobtainable
sense of self, we can allow our excitations to move
unencumbered towards more speculative and
unbounded becomings.
So the plastic and the processes deployed in 3D
printing can be read as figures, respectively, for the
decentering of finitude as an inextricable alterity
to life, and the exploding of lack as the sole means
through which we suffer that life.
As an artist prone to writing morbid pop songs that
gravitate thematically towards wretchedness and
self-dissolution, the 3D Additivist Manifesto stages a
very particular provocation to my habitual muse. So,
in an exercise of critical self-undoing,1 I have very
deliberately chosen to blast my practice with a photon
beam of 3D #Additivism in the hope that the resulting
impact might, to change from the micro to macro
metaphor, knock my songwriting out of its habitual
orbit with the Black Sun, and send it instead on a
new trajectory towards undiscovered constellations of
wigged-out pop speculation.
When I began working on this project, I proposed that
I would birth a popular posthuman noise machine by
exposing each element of my singing, dancing body to
the dangly junk of 3D Additivism. Soon after, I found
myself wondering more specifically: when trying to
#methods #play #bridge
Format Theme Action
confound each aspect of my customary performance,
what should I do, as an eager pop Additivist, with my
balding pate? This question became something of a
preoccupation, and, as a result, Ive not yet got further
than printing myself a new hairdo.2
From Toupe to Post-Toupe
On certain heads, the bald spot begets a toupe. It
is a very particular prosthetic device that figures
the thinning pate as a site of lack an emasculating
dearth that must be disavowed. In so doing, the
toupe casts the full head of hair as a normative
standard to which it then attempts to affect a return.
The toupe effectively hides male neurosis behind
an illusion of virile resplendence. But it can only
play its role as veiled;3 one gust of wind dashes
the effect. Like Ozs titular Wizard (the ultimate
figurative phallus), the toupe is the emanation of
some remarkable effects that alludes to a spectacle of
mastery but is latent and empty of content.4 So we
can understand the toupe as a phallic veil that strives
to mask what is perceived, by some, as the enfeebling
Real of baldness.5
But we can go further. By masquerading as a full
head of hair, the toupe weaves a performance
of plenitude in an effort to make good what has
been lost to entropy and the passing of time.
Psychoanalysis tells us that the melancholic subject
remains libidinally attached to that from which
they cannot bear to be parted; they summon in
their psyches a lost object6 a haunting, deathly
trace of what they can no longer have. The toupe is
precisely this psychical remnant made manifest atop
the balding bonce a melancholic invocation of a
fecundity that once was. In attempting to resurrect
a lost fullness, the toupe summons a perpetual and
idealized alterity a more perfect, but at the same
time obsolete, masculine otherness against which
it is forever found wanting. It plays a role assumes
the look but is effectively no more than a shadow of
hairiness fallen upon the pate. It can never reinstate
what has been lost. By reaching for this unattainable
specter of lushness, the toupe fuels an affective
political economy of loss and melancholia at the
1 Irit Rogoff, What is a Theorist?
2 Julia Kristeva, Black Sun
3 Jacques Lacan, The Meaning of the Phallus, in: Stephen Frosh, Sexual
Difference: Masculinity and Psychoanalysis
4 Stephen Frosh, Ibid
5 An aside: whilst Donald Trump appears to have gone for some
complex and highly dextrous hair extensions rather than a toupe per
se, his bouncing, coiffured mop helps sustain a spectacle of jingoistic
6
bombast, veiling an abject array of personal and political paucities.
Sigmund Freud, Mourning and Melancholia, in: Peter Gay (ed), The
Freud Reader
Writing the Post-Toupe: 3D #Additivism as a Provocation
Project
heart of the [balding] subject7 in which the wearer
is defined by what they once had but are now forever
separated from.
As I suggested at the beginning of this piece of work,
3D #Additivism invites us to recognize our (future)
selves not in the metaphysics of finitude8 the
paradigm of inevitable decline but in emergent
exaptations, lichen-like sym-technologies, biological
prototypes and, ultimately, in new forms of life. This
prompts us to treat the bald spot as a vibrant site of
potentiality instead of a void of melancholic lack. So
just as we might articulate a new ontology of life by
conceptualizing Life itself9 (as opposed to lifes
alterity), so too might we articulate a new ontology of
the pate by conceptualizing the Pate itself instead of
the lost hair that others it.
In so doing, we can begin to understand the bald spot
as a platform for revolutionary Additivist speculation.
Instead of supporting an ossified monument to the lost
liberal humanist hairdo (the toupe), the thinning pate
now emerges as a print bed onto which radical plastic
forms, designed in synthetic wetware programmes,
might take seed and proliferate. By eschewing human
mimesis for more-than-human, other-than-human,
inhuman, and human-as-humus10 innovation, these
confounding structures, sprouting up from the pates
downy ovoid plain like synthetic Cordyceps spores,
herald the dawn of the post-toupe.
A Post Toupe Prototype
1. Fix the top end of an unopened bio live yogurt pot
to your head using the stretchy rubber straps from
a snorkeling face-mask.
2. Cut a hole the size of a 10p piece near the base
of the yogurt pot, being careful not to spill any
contents.
3. Using a dinner fork and elastic bands, attach a
pivoting lever along the length of the yogurt pot,
with the prongs pointing towards your forehead. In
its resting position, the fork handle should cover
the hole that you made previously. Fix a sponge to
the top of the fork handle so that it forms a tight
seal over the hole.
4. Tie a piece of wool to the fork handle. When you
pull on this, the fork should pivot open, allowing
yogurt to exit the pot. Again, be careful not to spill
the contents at this stage. Leave this piece of string
dangling for now.
5. Push a plastic shower curtain ring onto your chin.
#methods #play #bridge
Format Theme Action
Tie it firmly in place using a length of wool passed
behind your neck. This is now your chinstrap.
6. Keeping your mouth closed, tie the piece of wool
that is dangling down from the fork handle to your
chinstrap. Fix it tightly enough to remove any slack.
7. When you open your mouth, the chinstrap should
now pull down on the fork handle. If you keep
your mouth open wide, dollops of yogurt should
plop out continuously. When you close your mouth
again, the yogurt flow should cease.
8. (OPTIONAL ADDITION) Before step one,
remove the lid and the plastic film from the pot,
and immerse a piece of cat faeces in the yogurt.
Put the lid on again and seal tightly with gaffa
tape. Proceed to step one. Warning: do not use if
you are pregnant or trying to conceive.
Applications/Futures for The
Post Toupe Prototype
1. Place some bowls on the floor in front of an
assembled audience. Drip the yogurt from your
post-toupe into these bowls, and then pass them
around. It is unlikely that anyone will accept, but
thats fine. The key point here is to demonstrate
the post-toupes potential capacity to jack directly
into the audiences neurochemistry. The live
bacteria in the yogurt modulates the intestines
microbiotic profile, which, in turn, writes itself
into 50% of the dopamine and a vast majority of
the serotonin that the body produces.11 In this way
the post-toupe completely bypasses the hollow,
remote sexual signification of the quiff or the
pompadour; its bio-mechanical discharge delivers
07 Rosi Braidotti, The Politics of Life Itself and New Ways of Dying, in:
Diana Coole and Samantha Frost (eds), New Materialisms: Ontology,
Agency and Politics
08 Ibid
09 Ibid
10 Donna Haraway, Anthropocene, Capitalocene, Plantationocene,
Chthulucene: Making Kin
11 Peter Andrey Smith, Can the Bacteria in Your Gut Explain Your Mood?
12 Kathleen McAuliffe, How Your Cat Is Making You Crazy
Writing the Post-Toupe: 3D #Additivism as a Provocation
Project
a dose of sensual psychiatry a haptic neurone
caress to anyone who cares to interface with it.
The addition of cat faeces to the yogurt
administers an altogether more terrifying dose
of toxoplasmosis.12 We recommend that this
is used for figurative purposes only (i.e. dont
actually offer it to your to audience) in order
to articulate the more cruel dimensions of 3D
#Additivism. By suppositionally introducing
this behavior-modulating parasite into the
already complex community of gut flora, the
post-toupe mutates the foreign DNA13 the
actant chthonic intensities already imprinted
within us. This eviscerating image of transhuman
symbiotic conglomeration shatters our auto-
identifying illusions of mastery, control and
self-determinism. The very idea of the post-
toupe (with added cat faeces) thus stages a dirty
protest at the doorstep of humanist individuation,
its diabolical tendrils bearing a whiff of what
is already within. There never was a sanctity of
self; to be a one at all, you must be a many.14
2. Use your post-toupe to confound the phallic
power dynamics embedded within Symbolic
language. Whilst constative utterances attempt
to fix words within a chain of authoritative
signification, your post-toupe aligns your speech
act with a weird and globular emission that
refuses equivalence and interpretation. Instead
of agonizing over words of editing, deleting
and self-censoring let your utterances stack up
into an accumulative and excessive jumble of
noise. Think of your mouth (in concert with your
post-toupe) as an OR gate that enables multiple,
polyvalent speech signals to flow unencumbered
into a poetic, performative pool of phonetic
thingness. Let this bio-noise this embodied
splatter endure in environments that expect
you to make sense. This will make for some odd,
difficult but productive moments.15
3. Align your post-toupe with the Peacock Spider
sex dance. This is achieved by painting bright
abdominal markings onto a plastic bag, gaffa
taping the bag to the nozzle of a hair dryer, cable
tying the hair dryer to a poncho, putting the
poncho on and plugging the hair dryer into a
4-way power socket suspended between your legs.
Once the bag is fully inflated, stick your arms
out at jaunty angles and shuffle from side to side.
Write a brilliantly weird pop song that you can
sing and dance along to.
#methods #play #bridge
Format Theme Action
Peacock Spider sex dance
4. Try to finish the song before you launch your
post-toupe. You might fall short of your ambition
here, but thats understandable. Youve probably
put a lot of pressure on yourself, expecting the
song to do too much. This approach is often
prohibitive. Remember that the post-toupe is
an enabling, ongoing proposition, so be OK with
what youve got so far.
5. When writing about your post-toupe, try not
to simply describe it using shored up academic
conventions.16 See if you can get your words to
act out some aspect of its functionality. This
is really hard to do, and might not manifest
completely in any one piece of work.
6. When documenting your post-toupe on video,
make sure you record the sound with a binaural
microphone. Rub the post-toupe up against the
microphone as you discharge your emission of
strangely mellifluous yogurt sounds. Think about
how this video might be more than a supportive
document. Let this recording of your post-toupe
function as a quantum particle that is able to
trigger intimate, tingly sensations from a distance.
Think about how the digital medium might
facilitate the post-toupe as a spooky action17
that reaches through the screen and touches
the viewer directly. Upload your video to an
Autonomous Sensory Meridian Response (ASMR)
channel on YouTube.
7. The post-toupe is suitable for all pates
everywhere. It works on any balding head,
muscular hydrostat, exoskeletal cartilage,
gelatinous scyphozoa or Dendrogramma
Enigmatica; just adjust the straps accordingly.
13 Jane Bennett, Vibrant Matter: A Political Ecology of Things
14 Donna Haraway, Anthropocene, Capitalocene, Chthulucene: Staying
with the Trouble
15 Simon OSullivan, Art Practice as Fictioning (or, myth-science)
16 Gavin Butt, After Criticism: New Responses to Art and Performance
17 John Markoff, Sorry, Einstein. Quantum Study Suggests Spooky
Action Is Real
Henrik Nieratschker Minusplusplus 2016 #fabulation #figures #deface
Author Project Year Format Theme Action

A fictional Silicon Valley

start-up company, developing
products that train your brain
for utopian futures

Minusplusplus
Minusplusplus #fabulation #figures #deface
Project Format Theme Action

Minusplusplus
Finding the Future. With Technology

Today the world is complex.
You became more accelerated,
more intelligent, more efficient,
more connected, more public,
and more aware.
We are thinking in networks. We
understand how thoughts work.
We are printing information in
three dimensions. And we make
the internet our brain.
Minusplusplus is here with you,
to ask the questions that need
to be asked. The big, important
questions, the difficult
questions, the controversial and
the overlooked questions.
All the questions that need to be
asked to make this complicated
world a better place.
Minusplusplus
Finding the Future.
With Technology.
Minusplusplus #fabulation #figures #deface
Project Format Theme Action

Minusplusplus
Understanding Complexity.

At Minusplusplus we brought
philosophers, neuroscientists
and technologists together to
build the products that make us
understand our complex world
in a better way. Combining 3D
printing technology and
network algorithms with a deep
understanding of neuroscience
and philosophy, we created the
first product to train your brain
for Utopian futures. Our
intelligent 3Discourse-
Algorithm uses principles
observed in the human brain to
scan the Internet for search
terms and then generate and
print a three-dimensional
manifestation of your chosen
topic.
The abstract shape and feel of
the devices is designed to build
new connections between the
many different parts of your
brain and your chosen
discourse. So that just by
observing and handling your
printed devices you create a
super-heightened awareness for
your discourses and ultimately
more and more potential for
valuable and groundbreaking
new insights.
With 3Discourse we bring you,
and your brain, one step closer
to a better world.
Minusplusplus
Understanding Complexity.
Minusplusplus
Project
Appendix
Minusplusplus is a fictional Silicon
Valley start-up company, imagined
as a multi-platform art project that
currently consists of a physical
showroom installation, as well
as a web presence that spans a
company website, crowd-funding
campaign and social media. The
fiction aims to challenge views on
innovation, technology and better
futures in the context of Silicon
Valley tech culture and to widen
the discussion by associating
political, social and philosophical
discourses.
In a first instance the company
presents their flagship product
3Discourse. The fictional product
line combines the revolutionary
potentials of 3D printing with cutting
edge research in neuroscience
and notions about the production
of knowledge from social sciences
and philosophy. An algorithm,
inspired by neural processes in the
human brain, scans the Internet
for a keyword and uses related
search terms and images to create
a three-dimensional manifestation
of a discourse, that can then be
materialized by a 3D printer. The
3D models are generated as
abstract hand-held Neuro-Training
Devices, allowing users to stimulate
many areas of their brain and gain
awareness and insights on their
chosen discourses.
The installation takes the shape
of a fully branded company
showroom presenting the
small, multi-colored and multi-
faceted 3D prints on clean, white
retail furniture designed to fit
the companys visual identity.
Elevated on clear, acrylic glass,
they are each accompanied by a
name tag, showing captions like
Arab Spring, Climate Change,
Ferguson or Algorithmic Trading.
The installed showroom is
completed by a screen showing
#fabulation #figures #deface
Format Theme Action
advertisement videos, a roll-
up banner, business cards and
an info terminal displaying
the companys website www.
minusplusplus.com and a crowd-
funding campaign. The Kickstarter
aims to make part of the fiction a
reality by raising funds to launch
a 3Discourse on Demand service
that allows customers to order
custom 3D prints for a search
term of their choice through the
company website.
The project looks at 3D printing as
a symptomatic technology within
contemporary (tech) culture. Its
revolutionary potential is long
promised but yet to be reached.
This work takes it one step further
by directly applying it to the
discourses technological progress
often fails to address adequately
(even though it does this on a
semi-fictional, speculative and
theoretical level, allowing the
technology to comment on itself).
The Speculative Prototyping Speculative Prototyping: 2015-2016 #methods #play #extrude
Lab, University of California, Making Plastic Printing Year Format Theme Action

Irvine (Jesse Jackson) Sustainable and Playful

Author Project Playful and sustainable
potentials of 3D printing
pedagogy

Speculative
Prototyping:
Making Plastic
Printing
Sustainable and
Playful
Speculative Prototyping: Making Plastic Printing Sustainable and Playful
Project
The Speculative
Prototyping Lab
The Speculative Prototyping Lab
at the University of California,
Irvine (UCI) pursues projects at
the intersection of media art and
speculative design in collaboration
with artists, designers, engineers,
scientists, humanists and the
general public. Two recent
Speculative Prototyping Lab
projects by multidisciplinary design
teams of undergraduate students
and faculty mentors from six
different study programs hosted by
three academic units, are additivist
in nature. One is focused on Making
Plastic Printing Sustainable. The
other group is focused on Playful
Fabrication: Envisioning the Future
of 3D Printing. Both groups are
focused on how we should make in
the future instead of what we can
make in the present: the first on the
nuts and bolts of what might make
the additivist process sustainable
or at least less wasteful; the second
on what playful potentials remain
untapped and point to future
opportunities.
Making Plastic
Printing Sustainable
While 3D printing based on the
fused deposition of polymer
filament is not new, they are now
readily available at various price-
points in the consumer market.
This proliferation was initiated in
the do-it-yourself community by
the open-source RepRap project in
2005, and further popularized by a
variety of commercial enterprises.
A possible negative byproduct
of more ubiquitous 3D printing
would be an era of physical spam,
marked by the production of what
the Institute for the Future has
called a large number of objects of
infinitesimally small value. Spam
#methods #play #extrude
Format Theme Action
or not, these objects are creatively
empowering, providing consumers
with opportunities for personal
expression previously only available
to experts.
Though its publication predates
the rise of these technologies,
Braungart and McDonoughs Cradle
to Cradle: Remaking the Way We
Make Things provides a useful
framework for considering how the
deleterious effects of physical spam
might be offset. Their concept of
technical nutrients materials that
remain within closed-loop cycles
is particularly pertinent, given that
the two most common materials
used in consumer-oriented 3D
printing, acrylonitrile butadiene
styrene (ABS) and polylactic acid
(PLA), are each proven candidates
for cradle-to-cradle processes.
Making Plastic Printing Sustainable
is a Speculative Prototyping Lab
Speculative Prototyping: Making Plastic Printing Sustainable and Playful
Project
project focused on showing how
todays technologies waste plastic
recovery, custom filament extrusion,
and human kinetic energy can be
integrated into the nutrient workflow
of tomorrow, in which the objects
they make are continually upcycled,
physically and creatively, into new
and improved objects. The team
has assembled, tested, and refined
a mobile demonstration of what
#additivism might look like in a
future condition that is sensitive to
pollution, challenged for resources,
or both.
Playful Fabrication:
Envisioning the Future
of 3D Printing
We now have the opportunity to
put 3D printers on our desktops.
The vast majority of the use
cases put forward for doing so
are functionalist and utilitarian.
This parallels the early days of
the personal computer, where the
emphasis was on technical uses
for calculations and algorithms,
and only when computers could
be used to make music, create
documents, and play games did a
compelling narrative for a computer
in the home emerge. Core to this
transformation was a shift away
from command-line interfaces and
applications designed for engineers
and programmers, towards
programs that made the technology
accessible to everyday users.
Playful Fabrication: Envisioning
the Future of 3D Printing is a
Transformative Play Lab project
that seeks to challenge practical
approaches to 3D printing by
conceptualizing and prototyping
experiences that illustrate the
untapped expressive power
these technologies might permit.
Co-hosted by the Speculative
Prototyping Lab, the team has
envisioned over thirty playful
futures for 3D printing ranging from
the silly (a printer fueled by human
waste) to the far reaching (a printer
that takes signals from probes
on alien worlds and recreates
extraterrestrial objects on Earth).
More recently, the team is
developing Terraform, a civilization-
building online strategy game
that explores an explicitly playful
use case of personal fabrication
technology. The current prototype
of Terraform uses the Unity 3D
game engine to communicate
gCode commands to a Printrbot
Play. The 3D printed building units
that result function as fiducial
markers for an augmented reality
system, allowing the player to track
the colonys status by viewing
the units through a tablet. This
proof-of-concept for a more playful
future suggests several directions
for #additivism that are currently
underexplored, including direct
communication between different
virtual platforms, and printed
objects used as characters in a
language.
Critical and Pedagogical
Intentions
The critical intentions of
Sustainable Prototyping Lab
projects are not instrumental.
They do not propose to solve
a problem, and though these
#methods #play #extrude
Format Theme Action
outcomes are not necessarily
unwelcome, they are not oriented
towards commercialization or
entrepreneurship. For example,
while Making Plastic Printing
Sustainable successfully
demonstrates how #additivism
might become less wasteful,
the design of the vehicle for
demonstration a mobile,
participatory, bicycle-powered
assembly, installed as public art
prioritizes maximum provocation
over efficient function. Playful
Fabrication operates in an explicitly
conjectural mode, brainstorming
as far away from current practice
as possible, and circling back
towards an unforeseen opportunity.
Pedagogically, these ways of
working permit students to explore
multiple hypothetical futures, rather
than orienting themselves towards
a narrow vision constrained by
commerce, capital, the current
capabilities of technology, and other
false limitations. Their speculative
prototypes to date suggest that
the future of #additivism is mobile,
sustainable, playful, and fun.
Extra Credits: Jesse Colin Jackson, Speculative
Prototyping Lab, Claire Trevor School of the Arts
in collaboration with Josh Tanenbaum, Karen
Tanenbaum, & Michael Cowling, Transformative
Play Lab, Donald Bren School of Information
and Computer Sciences and Mark Walter,
Henry Samueli School of Engineering and the
following undergraduate students William Amos
(Environmental Engineering), Amihan Amargo
(Mechanical Engineering), Tina Chau (Art), Tom
Chen (Computer Science, Electrical Engineering),
Patrick Chung (Mechanical Engineering), Aaron
Hilado (Art), Jard Hsu (Computer Science), Aldrin
Lupisan (Environmental Engineering), Amanda
Ortscheid (Computer Science, Anthropology),
Ethan Pen (Mechanical Engineering), Eunji Russ
(Art) funded in part by The California Institute for
Telecommunications and Information Technology
all at the University of California, Irvine.
Nicholas OBrien Notes on the Species Diversity 2015-2016 #fabulation #futures #detach
Author of Artificial Objects Year Format Theme Action
Project

Notes on the
Species Diversity of
Artificial Objects

Regardless
of cause, a
consensus among
researchers
confirms that the
decline in
population of
these creatures
directly coincided
with the end of
the Second Dark
Age.
Notes on the Species Diversity of Artificial Objects
Project
Some time in the middle of the Second Dark Age
a species of roaming artificial creatures populated
major metropolitan cities in an unprecedented
abundance. The creatures appeared to cohabitate with
humans and other animals during a prolonged time
of equanimity. However, as populations ballooned
and urban ecosystems became overwhelmed with
the pervasiveness of these specimens, a sudden
catastrophic event curbed their spread. Pinpointing
the exact moment in which this event occurred is
hard to determine, since investigations into biological
evidence of extinction has yielded no convincing
hypothesis. Instead, it appears as though the climactic
moment for the species mightve been the result of a
deliberate act on the part of humanity. Some speculate
that legislature was passed in order to modify
breeding, others speculate that new technologies made
procreation for the species impossible. Regardless of
cause, a consensus among researchers confirms that
the decline in population of these creatures directly
coincided with the end of the Second Dark Age.
Though these creatures have gone into extinction, their
terrestrial impact can still be observed. Due to their
distinct artificial make-up, researchers have begun the
work of mapping their extensive ecosystems. Upon
first examination, the species diversity is so vast that
analysts have had to subdivide population groups into
hyper-local strains in order to differentiate unique
subspecies characteristics. Where most analysis of
these kinds look at the marco-ecological impact,
our team has instead opted to focus on microcosms
of activity in hopes of discovering patterns of
biodiversity. The purpose of this study is not to
pinpoint the cause of extinction, but instead to identify
the particularities of species characteristics and their
relation to a specific geographical location.
Before delving into the particular characteristics
of the geographic sample chosen, some initial
discoveries regarding common traits should be
communicated. As initially stated, the primary
material composition of these creatures is of artificial
origin. As the species matured, the outer membrane
began to contain traces of organic augmentation, due
to a generational process of self-replication. However,
these trace amounts of organic material did not
change or alter the rate of decomposition. Due to the
slow rate of decomposition observed in the artificial
material of the membrane, current researchers have
speculated whether the introduction of organic
material was an evolutionary mutation.
As we can see here, the artificial membrane is the
primary physical attribute of the creature. Initial
research suspected that this membrane was a layer of
#fabulation #futures #detach
Format Theme Action
skin or other protective surface that would be shed
over time a hypothesis that substantiated the theory
of organic evolution but also incorrectly influenced
population projections at the height of species
development. As sociological data began to be
incorporated, researchers found that the membrane
was not a discarded husk shed from a larger physical
core but instead was the entirety of the creatures
physical appearance. Much like the physiological
design of Class Scyphozoa, these creatures display
no discernible biological interior for metabolic
ingestion. Although the physical resemblance
between these creatures and other common jellies
is hard to deny, a primary differing characteristic
is the lack of any tentacles or nematocysts. This,
combined with no discernible nervous system,
makes classification particularly troublesome for our
research team.
Another common trait amongst all variations and
subspecies can be found at the mouth. Where the
membrane becomes most open, two symmetrical
extensions stretch out to form hoops. Hoops vary in
size and membrane thickness and in some recorded
samples researchers observed damage to these
physical features resulting in stunted breeding.
Due to the lack of any discernible muscular tissue,
researchers speculate that these hoops were integral
to species mobility. Some analysts speculate that
evidence of strain and damage to these areas of
the membrane are due to a symbiotic or parasitic
relationship wherein the creatures latched onto a
mandible of another life form in order to expedite
travel and population distribution. Otherwise, the
creatures must have traveled much like spores from
fungi, relying on wind currents as is depicted in
our research simulations. The malleability of the
membrane to contract and expand suggests the
creature could easily travel great distances from the
slightest breeze. This hypothesis is further supported
by observing clusters of population density occurring
at locations where potential entanglement as a result
of arbitrary air currents could occur. In the sample
area discussed below, sociological data indicates that
density spikes frequently occurred where permeable
surfaces like chain-link fences once existed.
The two noticeable physical consistencies hollow
artificial membrane (with traces of organic material),
and symmetrical hoops are the only major
characteristics found within all population deviations.
Physical attributes including size, membrane
durability, color, patterning, and average age all
appear to be dependent on birthplace or as our
researchers prefer to say point of origin.
Notes on the Species Diversity of Artificial Objects
Project
The Commune Nigris breed, for instance, could live
in the wild for many years and would often travel
great distances away from their point of origin. The
Commune Nigris primarily originated from sites of
everyday exchange such as corner stores and what
was colloquially called bodegas. These sites appear
to have been ideal ecosystems for breeding. Dimly
lit with wall-sized areas kept at a cool temperature,
these points of origin were hubs of activity for a
variety of subspecies. The Commune Nigris thrived in
biogeographical areas that contained several of these
breeding sites within a short walking distance. The
high frequency of these sites does not seem to appear
as a redundant measure when cross-analyzed with
sociological data.
Though the lifespan of the Commune Nigris varied to
a great degree, one could easily distinguish this breed
from others due to a jet black and remarkably thin
outer membrane. Sociological data suggests that the
thinness and flimsy durability of the Commune Nigris
membrane would almost appear translucent at dusk
a phenomenon that other breeds also share. Unlike
other common organic creatures, the Commune Nigris
is remarkably never officially classified as a pest.
Due to the overall simplicity of physical markings,
membrane consistency, durability, and hoop regularity,
many researchers believe the Commune Nigris to be
one of two primary strains from which all breeds
mutate. The other primary strain has been named
the Commune Albis for having all the same physical
characteristics as its sister breed with the exception
of being white in color. Though less dominant in
population frequency than its darker sibling, the Albis
is still considered significant due to the amount of breed
variations that have white as their base color. Common
mutations of the Ablis occur in outer membrane
markings and overall membrane thickness. Mutation
range for the Albis is so diverse that subspecies and
generational breeds have mostly gone unclassified.
One recurring membrane marking closely resembles
a type of lettering not all that dissimilar from
English print. Though variations of those markings
have spelled out several indeterminable phrases,
the patterns of these markings tends to repeat in
horizontal strips. Striped patterns of these markings
have began to be classified as Gratias Iterum Ablis
based on preliminary sociological data gathered
from our sample area. Non-patterned markings
also exist within Ablis mutations, but researchers
have found that any potential phrases are similarly
indecipherable as the Gratias Iterum. It is suspected
that because these creatures contained artificial
materials, some markings could be the result of a type
#fabulation #futures #detach
Format Theme Action
of branding that was commonly used on livestock.
This hypothesis has recently grown in popularity so
much so that some researchers argue that all markings
found on creatures are some form of branding. If this
were the case, all creatures with a white membrane
base color regardless of markings would be classified
as Commune Albis.
Albeit these two primary breeds account for a
significant portion of the species population, other
strands have also been observed. For instance, the
Sacculum Rubei a distinct breed that displays
a bright red hue covering the entirety of its outer
membrane was only able to be classified as a unique
subspecies after sociological data was referenced. In
this instance, the point of origin for the Sacculum
Rubei was unlike other Commune breeding sites in
a variety of ways. Due to the geothermal warmth of
the site, and the documented sociological account
of soul food being distributed from this location,
researchers speculate that the species overall must be
affected by temperature. Though some argue that this
correlation is only substantiated by researchers limited
understanding of color theory.
Sociological data suggests that that sites with unique
subspecies breeding were places of business that
wouldve regionally been identified as locally owned.
This rare form of business was viewed as a type
of resistance against larger corporately managed
franchises. Though the antagonism between locally
owned sites and franchise locations is never explicitly
illuminated through subspecies breeding, sites that
were not managed by larger corporate entities would
rarely use the type of branding more commonly
found on Commune Albis mutations. Instead creature
breeding at locally owned points of origin often
resulted in subspecies characteristics atypical from the
vast majority of other subspecies as is the case with
the Sacculum Rubei.
This is to say rarer subspecies strains were not always
the result of locally owned breeding. The Smaragdus
Sacci was a bright green breed with a remarkably
thin membrane. Often appearing in intertwined
pairs with one creature nested into the other the
Smaragdus Sacci membranes were often covered in
branded markings as well as containing several holes.
Though translation of markings is still underway,
researchers have argued that the branding on this
subspecies indicates that the point of origin was
most likely a franchised place of business primarily
distributing grocery goods. Perhaps most significant
is that sociological data suggests that the Smaragdus
Sacci might be one of the first and largest breeds to
have gone extinct.
Notes on the Species Diversity of Artificial Objects #fabulation #futures #detach
Project Format Theme Action

An extremely rare breed identified at the Eximius

Pullum Onerariis (or EPO) is a significant leap for
our research team because it points to an important
moment within the genealogy of the species. Initial
analysis of the sociological data for the Eximius
Pullum Onerariis suggests that the creature not only
displayed superior physical attributes, but also hosted
within its membrane other subspecies. These nested
breeds of differing origin suggest accelerated creature
distribution would often result in packaging the
Eximius Pullum Onerariis with other inferior breeds
(including the Commune Albis).

This startling discovery challenged all previously held

notions about species populations and breed migration.
If creatures of dissimilar breeds were being grouped
together, with larger and superior breeds playing host
to their less evolved siblings, then it could be argued
that these creatures were entirely devoid of neurological
agency in which case human cooperation and
intervention in species distribution could be seen as
the primary force behind the ecological havoc which
marked much of the Second Dark Age.

The troubling reality of this hypothesis becomes

all the more illuminating when considering the
rapid decline in species population that occurred
subsequently after accelerated distribution practices
became common place. It has been argued that
during this time humanity began to see the error
of their way, or at least began to contemplate the
severe ramifications of species dominance in urban
ecological environments. Although little information
about species extinction and the catastrophic event
that halted subspecies breeding is known, correlations
between the appearance of cross-species hosting near
the final stages of species genealogy is hard to ignore.
As our team has focused on the later stages of the
geological time-line of this species, new life forms of
similar physical design began to emerge. It is unclear
if these new lifeforms prayed on the creatures of our
study, or what exactly catalyzed their existence, but
the ecological impact of their introduction within this
time proved overwhelmingly beneficial.
Alison Bennett, Megan Beckwith and
Mark Payne, featuring Jacki Hammer
Author
Virtual Drag
Virtual Drag features 3D scans
of drag queens and drag kings
made with photogrammetry. We
were interested in exploring this
photographic technique for creating
assets for virtual reality. The virtual
reality experience extends for
about ten minutes and is made
of four scenes built around the
personalities of six drag personas.
The personas are: The magnificent
Philmah Bocks, the divine Art
Simone, the knee weakening
Virtual Drag 2016
Project Year
Transylvanian Gypsy Kings, and
Jackie Hammer, who is simply a bit
of a hot mess really...
The 3D models were created
using digital photogrammetry, a
form of expanded photography
that builds 3D models from a
series of 2D photographs. The
photogrammetry process uses
the shifts in perspective between
each photograph to construct a
3D mesh model of the subject.
#blueprint #beyond #bridge
Format Theme Action
An immersive exhibition of 3D
scans of drag queens and kings
for virtual reality headset and
projection
The surface is constructed from
a patchwork of the photographs
wrapped around it. The somewhat
glitchy quality of the process was
not erased in order to reveal the
qualities of the process. Indeed,
we feel that there has developed a
normative look and style within 3D
works that we wanted to rupture.
The glitchy qualities of our models
that lie in both the photographic
and the broken was part of this
investigation.
Virtual Drag
Project
The models were animated with
minimalist choreography by
inserting armature that also defied
conventions. Meshes deformed in
odd ways, stretching clothing and
bodies. Finally, the animated models
were placed in a 3D computer game
environment that allowed the viewer
to look round the virtual environment
in real time while being guided by
a camera path that at times had
viewers clutching at the table in front
of them!
The virtual reality work is presented
with the VR headsets resting
on white dressing tables. The
installation included prints of
the model textures that reveal
something of the process behind
the work. Visitors were greeted by
one of the artists dressed in a pink
apron and invited to sit before the
mirror as we fitted the VR headset.
Many elected to wear the pink boa
while viewing the work.
Through the process of making
and exhibiting this work, we
are exploring the potentials
of the relationship between
drag and virtual. Not only is qualities even more so than
this an opportunity to ask how
virtuality might reflect upon
gender but, perhaps even more
interestingly, how might the notion
of realness and the practice
of drag performance offer fresh
perspectives on the cultural
production of virtual reality.
Perhaps reality is the problem
(reality is always the problem,
darling). The use of the term
#blueprint #beyond #bridge
Format Theme Action
reality in virtual reality is
aspirational. Its not really reality.
Although the brain responds to
stereoscopic images as real,
we still know it is a mediated
experience. Perhaps we could
call it virtual media. But all media
are virtual. The distinctive feature
of this media is its immersive
cinema. The headset removes
peripheral intrusion and the loss
of the fixed frame gives the viewer
a degree of agency. Immersive
Media may be a more accurate
label. If drag performance reveals
gender identity as performative
and emergent, perhaps we can
rethink VR experiences as a
form of becoming in mediation,
of performing emergent potential.
Either way, it is a form of drag.
Virtual Drag #blueprint #beyond #bridge
Project Format Theme Action

The project was funded by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.
We also had assistance from Deakin Motion Lab and Media Lab Melbourne.
Golan Levin and Shawn Sims Free Universal Construction Kit 2012 #toolkit #play #bridge
Author Project Year Format Theme Action

A matrix of adapter
bricks that enable
complete interoperability
between ten popular
childrens construction
toys

Free
Universal
Construction
Kit
Free Universal Construction Kit
Project
The Free Universal Construction Kit is an Additivist
gedankending: a matrix of adapter bricks that enable
complete interoperability between ten popular
childrens construction toys. By allowing any piece to
join to any other, the Kit encourages totally new forms
of intercourse between otherwise closed systems. As
with other grassroots interoperability remedies, the Kit
implements proprietary protocols in order to provide
a public service unmet, or unmeetable, by corporate
interests.
The Free Universal Construction Kit is not a product,
but a provocation. It offers working adapters between
Lego, Duplo, Fischertechnik, Gears! Gears! Gears!,
KNex, Krinkles (Bristle Blocks), Lincoln Logs,
Tinkertoys, Zome, and Zoob adapters which can be
downloaded for free from various sharing sites as a set
of 3D models suitable for reproduction by personal 3D
printers. In so doing, the Free Universal Construction
Kit prompts consideration about intellectual property,
open-source culture, and reverse engineering as a
mode of cultural practice.
Opening doors to new creative worlds is one major
reason we created the Free Universal Construction
Kit. Another is that we believe expertise shouldnt be
disposable and that childrens hard-won creative
#toolkit #play #bridge
Format Theme Action
fluency with their toys shouldnt become obsolete each
Christmas. By allowing different toy systems to work
together, the Free Universal Construction Kit makes
possible new forms of forward compatibility, extending
the value of these systems across the life of a child.
In producing the Free Universal Construction Kit, we
aim to demonstrate an Additivist model of reverse
engineering as a civic activity: a creative process in
which anyone can develop the necessary pieces to
bridge the limitations presented by mass-produced
commercial artifacts. We hope that the Kit will not
only prompt people to create new designs, but more
importantly, to reflect on our relationship with material
mass-culture and the rapidly-evolving ways in which
we can better adapt it to our imaginations.
The Free Universal Construction Kit comprises nearly
80 two-way adapters, which allow each of the different
construction toys to interface with any of the other
supported systems. Prior to modeling, the dimensions
of the various toy connectors were reverse-engineered
with an optical comparator accurate to less than two
microns. The resulting precision ensures that the Free
Universal Construction Kit actually works, enabling
tight snap-fits between custom and commercial
components.
Free Universal Construction Kit #toolkit #play #bridge
Project Format Theme Action
Everardo Reyes-Garcia Design by Disruption 2012, 2014 #methods #alchemy #collapse
Author Project Year Format Theme Action

Design methods based

on disruption and meta-
transformations from one media
to another

Design by
disruption
procedures. The results are chaotic 3D meshes of the
original model (fig. 1).

The second piece is called Motion Structures. It was

Fig. 1
provocations. The
fostering such practices
traditional movements
standardization and
rather interested in using
non-positivistic goals; to
computers and code
which is charged
and philosophy can speculate to answer.
first presented at re-new festival (Copenhagen, 2014).
It is basically a script that runs on ImageJ that takes
a sequence of images as input and then
applies a series of actions to output a
virtual 3D model. I have produced
motion structures from video
sequences (film, TV series, video
artworks). The results make
evident the trace of movements and
transformations that occur from frame to frame
in an animated sequence; it is possible to orbit
The relationship around the shape and to navigate inside it. In
between art, order to print a model, its complex geometry
design, and had to be reduced from one million to 32,000
technology can faces (fig. 2, obj01.obj).
be observed from
the standpoint
of disruption
and aesthetic
importance of
is to challenge
toward
perfection. I am
technology for
follow the idea that
hold a human imprint,
with questions that art

Disrupting 3D models was originally

presented at the Computer Art Congress 3
(Paris, 2012). It is a small application made with
Processing with the intention to open an external
3D model (STL format) and to render its geometry in
three different modes: quads, triangles, and points.
The application proposes three parameters to disrupt
the geometric composition following semi-stochastic
Design by Disruption #methods #alchemy #collapse
Project Format Theme Action

My two pieces share in common a non-figurative

approach to 3D models. On the one hand, they can
be seen as meta-transformations from one media to
another; on the other hand, they require an effort from
the viewer to experience and provoke variants and
reconfigurations. In this respect, the
pieces try to drive the attention
to the unstable and material
part of digital media. Software
applications mediate ideologies
between people. The processes
that we make available through a
user interface reflect on choices. But
such decisions are pre- configured within the Fig. 2
computational environment: the
hardware and standards on which
our contemporary infrastructure
is based. So we have to recall that
code is not only electronic: its effects
extend to the physical world. Code
and digital media are unstable
because new uses are continuously
foreseen. Design by disruption might
respond to stabilizing practices with
aesthetic provocations.
XXX
Claudia Hart XXX
Resolution, Reification and Resistance
XXX 2015-2016 #XXX
#methods #XXX
#resistance #XXX
#break
Author
Author Project
Project Year Year Format
Format Theme
Theme Action
Action

Title
Resolution,
Reification and
Short description
Resistance: a
conversation with
Claudia Hart

I am limited by
my processors.
I am time based. I
am a generalized
approximation of a
pattern over time,
and therefore
unknowable, also
to myself.
Resolution, Reification and Resistance
Project
Claudia Hart, Mortification 01, 2007, ABS Plastic rp print, edition of 3
Claudia: With #Additivism you are making a history
of something while its in the making, at the moment
when the speed of development seems faster than
before. But perhaps thats always the case. Thats
partly why I wrote to you about the clay printer we
just bought at SAIC. Slip printing is a new possibility,
but there is very little produced with it at this time that
I find of interest.
Daniel and Morehshin: Tell us about that.
C: The clay printer is artisanal, meaning not that
refined. It can make big things but in relation to a
larger scale, the bead is very very small. It builds the
walls of objects, but it doesnt have a sophisticated
ability to create fill. What this means is that the
things built with a slip printer cannot resist the force
of gravity. Slip is heavy with water and slow to dry,
so it tends to collapse. You cant stop the printer
because it is very bad at returning to the place it
stopped. This means you cant heat gun it to speed up
the drying process. Plastic printers dont have any of
these problems. As a result, with slip printing, smaller
works better. So no detail. Its a different problem than
plastic printing. Nature has her limits.
As a result of these current material limits, most of
us struggle with the so-called authenticity of plastic.
In our culture, this means authenticity in terms of
traditional pre-industrial materials. Like you and
#methods #resistance #break
Format Theme Action
Morehshin, I actually prefer plastic as a material
because it is a material for our times. It represents the
now. Ironically it is also archival, meaning in terms
of its longevity it lasts over 100 years. This means that
for art, it is a great material. For garbage, not so good,
because you cant get rid of it. It sits around in garbage
dumps forever!
Art has always been for kings and queens. Its heavy
and hard to transport. Art is therefore expensive.
So its always about money. All of us people at the
bottom of the economic spectrum, we are not making
a million dollars for sale, or even a hundred thousand.
So we have this tool which is 21st century, and we
have plastic, all we could afford. All of this is fine
for me. We look at plastic metaphorically, in the way
of a contemporary artist. We dont take anything for
granted, our materials speak for us. Plastic speaks
about certain things.
Currently, I have access to a slip printer. So suddenly I
can use an organic, natural materiaI. This forces me to
rethink my relationship to plastic. I never tried to cast
my plastic, because I felt that casting missed the point.
Plastic is native to the rp-printer. Plastic is native to
our time. It is the material of the people. Our garbage
dumps are filled will plastic toys and utensils. We
cant escape it. It is our new natural. As the natives of
21st century simulations, culture, plastic is our 21st-
century necessity.
Resolution, Reification and Resistance
Project
I consider myself an abstract expressionist of the
unnatural. In other words, I am interested in the native,
natural states of the artificial. Artificiality, the stuff
produced by means of simulations technology, has its
own natural mode. You have identified this in The
3D Additivist Manifesto as a kind of pollution in a
very funny way. Rp-printed plastic is cheap, and its
supposed to be used to make a prototypes, an interim
thing. Its supposed to be thrown out. But the fact
is, theres no where to throw it. The plastic garbage
dumps live forever, they are killing our oceans. So
obviously we should not throw it out. And isnt that
what art is? The thing that should never be thrown
out?
D: This makes me think about prototyping. Although
I completely agree with what you are saying about the
native qualities of plastic, and its crappiness, its also
an incredibly versatile material. And thats also why it
works for prototyping. It can be solid, fluid, this and
that. What you are talking about with clay though, I
cant imagine it fulfills the same purpose?
C: Why not? You put it in a kiln.
D: But its a one way process. It doesnt pretend to be
something else.
C: Yes. Its not part of the industrial manufacturing
process, but it is archival. In other words, once fired
it will last as long as plastic does. Ceramics was the
original kitsch material after all. In the 19th century
it was used for mass production in imitation of hand
made metallic vessels or marble sculpture. So it
still goes into a kind of crass thing. Its not mass-
reproducible. Thats what you are talking about?
D: I went to a plastics conference to talk about
#Additivism, and there were many other angles on the
material there. But mainly from a design perspective.
A conference for people who have invested their
careers for decades to using plastic in consumer-level
and bespoke products. The designer of the worlds
first almost-completely-plastic baby carrier was there,
a product from the 1980s that sold many millions of
units. He dismissed the environmental murmurings
in the Q&A session related to the impact of plastic,
claiming that ceramics were far more pervasive and
longer lasting as a material. It was a very matter-of-
fact dismissal of the plastic vs environment question.
C: If you treat ceramics well they will last forever.
Otherwise they go to burial grounds, but because
made from earth, they return to earth. The other night,
in my local Italian restaurant, my waiter shared this
story. Hiking in the hills outside Chicago, he stumbled
#methods #resistance #break
Format Theme Action
across a Native American dump site, from the 18th
century, for broken clay pots. It was a pit filled
with shards in a ravine, overgrown with trees and
woodland. It had returned to the earth.
D: Of course. After passing through what we call the
stone age, and the bronze age, we are now living in
the plastic age. That is what will remain of our time.
Thats the material future generations will label us
with.
C: But is printing about the plastic, or is it about
the printing? One of the things that interests me is
the aesthetics of simulation. Not just the materials.
Simulation is based on a mathematical model, an
approximation of the real rather than a belief that one
is capturing a ghost of the real based on the physical
qualities of the photographic process. We are all
Platonists here, right? We assume a mathematical
model of mind that precedes reality. I assume that my
powers of observation are limited by the size of my
processors, which are limited. Mathematical models
are generalizations necessarily, they are patterns
that occur over time in the time/space continuum for
simulating the real. The world exists but we can only
model it, or approximate it on those models. Plastic is
secondary to me. The world is secondary, I am limited
by my processors. I am time based. I am a generalized
approximation of a pattern over time, and therefore
unknowable, also to myself.
D: You have been saying we a lot, talking in
retrospect, but also in the present tense about these
processes and practices. Can you say something about
the we? About who you are referring to?
C: Thats a very good question, because a lot of my
practice came in isolation. I was thinking a lot of these
things by myself, but I wasnt not very articulate about
it. When I came to SAIC in 2007, I entered a Phase
II. At SAIC, I had access to expensive RP machines
and to a more limited extent, CNC routers. I also had
students. So students and I compose the we. When I
first approached the rp plastic printer, only a couple of
guys in the design department, native Rhino software
users who only used generalizing nurbs geometry,
knew how use the printers. They used nurbs, because
their mission was to make simple, manufacturable
consumer products such as teapots or cups. But my
students and I are artists. We make sculptures that are,
among other things, metaphors for manufacturing. We
make limited edition objects. Our needs are different.
We use polygons, because they permit irregular forms.
We tend to want to wreck havoc on consumer products,
to rethink possibilities. I want to fuck up consumer
products. They are useless in a banal empty way. I
Resolution, Reification and Resistance
Project
want to make art, which I think of as a more profound
useless object. In 2007, there was nobody else at SAIC
who wanted to do that.
D: So the me became a we? that, in that the politics of crap is always already in
C: Yes. But of course there were strings attached.
There always are. I had access to the machines as a
teacher who was expected to develop curriculum for
an art school with my discoveries. This curriculum
is meant to attract students and make money for the
school. So far so good. But no free lunch. Ben Stagl,
an artist and one of the co-founders of the Chicago
industrial design group, Chilab Design Studio, was
one of my first students, one of my first partners
in crime. He was as interested in fucking with the
machines as I was. So we did.
M: And of course gender-wise you were one of only
women working in this area? How does that include
the we?
C: Of course. I have been thinking about this really
deeply, you know, your question: who is the we? In
my world, I think of my constituency as my students.
Many also became obsessed with this area of research.
They are now important players on the digital art
scene. They are your generation in fact!
So today, many more people work on the issues that
I care about, not just 5 or 10 as it was when I arrived
at SAIC a decade ago. Over the course of the past ten
years I have many more people to talk to, as we talk
now. But my we also happens to include women of
all sexual persuasions, people of colour, and gay men.
Of course Im in academia, and maybe the straight
white dudes have more options, including of going
into industry, as a means of to tools and to money. But
for my we, we have less opportunities there than in
liberal humanist academia. So again, with technology,
the deciding issues are of class, access to money,
power, and expensive tools. Its very consistent.
D: Turning back to metaphors in relation to that,
Im thinking about the written work of Hito Steyerl,
especially her essay In Defense of the Poor Image.
The idea of a value system predicated on how fast
and far an image travels, rather than on its resolution
content, its size, its appeal to verisimilitude. Theres
a politics inherent in the informational constituents
of an image. It feels like theres a relation here with
what youre saying about additive technologies. A
resolution politics of physical processes from digital
practices. Maybe the we that you talked about, if I
can use the term, are those who are more disaffected,
they are not the white male, they are not going to be
#methods #resistance #break
Format Theme Action
industry leaders, they are on the outside of the sphere,
but maybe there is something in the low resolution,
the crappy, that evokes some kind of affirmative
identity for them. There is an aspirational quality to
opposition to the establishment.
C: Yes. That relation is made apparent by all
simulations technologies: the will towards
verisimilitude. Over the course of time there has
always been a human obsession with recreating the
real. Theres an innate seduction to it. Anybody
involved in simulations processes are driven by it,
whether we make low res versions of it or high res
versions. The drive to verisimilitude is actually a
reflection of the Freudian idea of the Unheimlich,
that eerily familiar thing, that land of the dead, the
thing that comes out of your memory, that you feel
just might be a ghost. Simulations seem real, but at
the same time they are dead. Being both dead and
alive is what we humans crave: to never die. We know
we have to die but we hope we can trick death. We
therefore crave VR spaces in general.
Virtual spaces are what the anthropologists of of
religion call liminal. Liminality is a halfway
transitional space, the space of ritual and a space of
transformation in rituals, where participants pass from
the real world into the spirit world. The spirit world
Heaven in Western terms is the site of the infinite, a
place where we imagine we can we can dwell in our
bodies, half way between the real world and the big
nothing, somehow living forever in our current form,
both dead and alive. That is exactly virtual reality.
What fascinates me about the slip printer then is
its inherent liminality. Its a paradoxical machine,
somehow doomed for failure. Its a liminal machine
that can be both/and producing things that are
both dead and alive. Organic yet systematic. Failed
perfectness with an almost incomprehensible failed
system governing it yet collapsing due to the force
of gravity, in a strangely systematic way. New media
generally produces liminal states and forms. The
people who are attracted to unformed media anyway
tend to be people who crave the liminal. We have
different needs from those who chose traditional
media. For me, creativity occurs at that very the
point of improvisation, of newness, when there is
not yet a system of overly determined rules guiding
me. Maybe I would have been a different artist if I
didnt feel that way. I might have been Tony Craig!
Nevertheless, I still told my husband, the media artist
Kurt Hentschlager, Now I have a ceramics printer!
Im finally going to make some money! [Laughs]
Resolution, Reification and Resistance #methods #resistance #break
Project Format Theme Action

Claudia Hart, Brides, 2010, ABS Plastic rp print, edition of 3

Claudia Hart, Teddy , 2010, ABS Plastic rp print, edition of 3

Resolution, Reification and Resistance
Project
D and M: [Laughs]
C: He told me, No you will NOT. Youre always
going to do the things that are somehow threatening,
so buyers wont want it. Kurt is referring to the fact
that collectors who invest in art as one might invest
in the stock market dont want to take deep risks. At
the moment, they dont want to buy things that reflect
the improvisational possibilities of machines. Thats
way too weird and liminal. Things that suggest that
machines might be dead and alive at the same time
are weird! And for the most part, collectors DO want
to reap profits from their art investments in their own
lifetimes. For me its all about emergence somehow. I
am a risk taker. I like to gamble on the future. But my
idea of the future is historical. I was educated to be an
art and architectural historian not an artist. My idea of
the future is some time in the future when I am dead,
not the now. Its a complex of things about death all
tied up in a knot.
When I came to Art Institute 9 years ago, I looked
at the 3D printer like I look at the slip printer now. I
thought Im going to figure that one out. At that to the corporate is the introduction of expressiveness
time, nobody had intentionally made such dirty, nasty
forms for rp printing. SAIC hooked me up with the
designers of the software running their machines. I
chatted with them. They told me, Youre going to
have to eliminate the manifolds, meaning make a
form without what I call pretzelization. I was on a
mission to de-pretzelize, meaning to turn my messed
up nasty models into rational airtight meshes. So I
devised various techniques using a whole array of
shelf softwares. I couldnt find a single one to do the
whole job because there wasnt much of a demand for
de-pretelizing. Designers wanted symmetry, I wanted
irregularity.
I found a medical software used to rationalize the
meshes made to clean scans for teeth, for making
prosthetic ones. It cost 13,000 dollars a seat! Alan
Labb, the Provost of Technology at SAIC actually
encouraged me to buy 12 seats for the school! Then
I discovered another company in England, Cad-Span,
solely devoted to shrink wrapping Sketch-Up models
to provide a service for architects to print models used
for client presentations. It was a subscription software,
just for shrink wrapping, the most elegant Id seen.
With both of these, I could turn a pretzelized model
into something printable. I patched them together.
That was a different approach. If you think about Jeff
Koons, who has budget, he employs another strategy.
He is actually one of the earliest and most significant
of digital sculpture producers, though hes not branded
as such by the art world. He actually funded a chair of
#methods #resistance #break
Format Theme Action
research in engineering at Rutgers University in New
Jersey, to solve his specific problems in the production
of high resolution sculptural forms. He uses a CNC
router. He has a lot of money, so he spent it. It was a
very practical decision.
M: The fact that in your work you had to develop
all these processes, its similar to what artists in the
current glitch scene are doing in some ways.
C: I have always used off-the-shelf software. All I
do is hack and stitch their processes together. This
approach necessarily creates a brutality, a low-
resness. To me, this is the place where imperfection
becomes expressive. When you look at Impressionism,
you are looking at the limits of photography in
other words, at the flaws of industrial processes as
a form of expression. The avant-garde is to me, the
hackingness of it all. I hacked together different tools
that together produce an aesthetics of imperfection,
that is therefore expressive. To be expressive you need
a range of formal possibilities. The world of perfect
verisimilitude is seamless. So in my world, opposition
through imperfection. It is the language of the
aesthetics of resistance. As you said Daniel, it is a
resistance to the perfect, the high resolution, the
seamless.
By ripping apart the tools we are using through
glitch practices, and hacking production processes
in unexpected ways, I offer students techniques
they cannot find in commercial tutorials. That is
what is transferable in all of my teaching to the we,
this particular way of thinking about the land of
simulations. To use high-level production software as
as poor people. You know what I mean? Its the most
important thing to me. Seamless art aesthetics, what
has come to be the hyper collectible and expensive
in the contemporary art world, is what is called
production art. Production artists are using the same
technology and its beautiful what they do but I
dont think its expressive. There is no resistance in it.
D: All these terms you are using... we are trying to
devise a similar toolkit in a way. To open up avenues
for resistance. Or to inject resistance into the 3D
printer, so as to disrupt the way the establishment
considers it. Where the aesthetic and critical meet.
C: And theres that we again! I make a living talking
to other people who are interested in art as a form of
resistance. That is the true we. Although its not as
many as there are painters, there are enough of us to
have a lively discussion, which wasnt always the case.
We are a think-tank! We think of points of resistance
Resolution, Reification and Resistance #methods #resistance #break
Project Format Theme Action

in corporate tools, the point where art and expression D: This is one of the things we have tried to consider
come in. In fact, I showed your Manifesto video to my with The Cookbook. To mark that line of resistance
classes recently. It scared them. Its dystopian! Its very somehow whilst being aware of, whilst expressing, our
dark. But they also loved it. We need you in Chicago! own limits. Trying to speak to the outside, or gesture
to its possibility, without reifying that space.
D: This is why residencies like Pier 9 at Autodesk has
amazing people like Morehshin. She finds the gaps in C: Thats a conscious thing that all artists can do. To
their tools and they extract value from that. Thats one talk to your culture and say, Im resisting you. What
of the fundamental politics embedded in the glitch youre really saying is Im here, and between you and
scene. The failure and gaps they exploit for aesthetic I, I think we suck.
and critical results will eventually be bugged, patched
up and recuperated by the corporate entities that D and M: [Laughter]
develop the hardware and software.
C: But thats just between us, okay?
C: Which is good because we still get to make art and
sustain ourselves in the meantime. But nevertheless
we stay moving targets. Once corporations recuperate
our techniques, we dont want to do that very thing
that we did with them any more. We move on to the
next one.

D: Yes. Thats real resistance.

C: And thats the interesting part for people working

with these technologies at the bottom of the pile. As
simulations technologies keep moving towards higher
and higher resolution, what we do is always at the
interstices. Finding a place where you can hack the
system is where the creativity and expression comes in.
Where you can use the hack to express more humane,
less corporate ideas. Then it doesnt matter that the
technology has moved on. The point of the initial hack
is no longer important if it remains expressive.
When we look at the kitsch 19th century paintings in
museums, we now laugh at them. But we dont laugh
at Seurat. Even when we dont know the stories behind
his work. Campness is obvious because it denotes a
thing that is empty. One can feel that emptiness. Its
emptiness resonates. Koons harnesses that emptiness
to make comments about Capitalism in fact! His
sword is double edged.

D: Its important to have these discussions at this

present time. Around these new tools. Just as it has
always been important.

C: The process of history is actually a process of

reification. The Apples of this world began their
life in opposition to the Microsofts, offering a line
of resistance. But Apple became our current high-
resolution Microsoft. Apple reflects the problem of
success and reification. So similarly, now we have
the United States, where once we had Britain. The
resistance, reified. Thats the process of history. The
special relationship is actually that we are now you.
Jasper Meiners and Isabel Paehr The Webcamera Obscura 2016 #toolkit #resistance #remesh
Name Project Year Format Theme Action

A masking device for laptop

webcams that can be used to
rewrite, reform and re-invent the
images and private spaces that
are accessed by one's online
observers

The
Webcamera
Obscura

What is The Webcamera Obscura?

The Digital Age is a time of autonomy, liberation and connection, however; this comes at the cost of personal
privacy. The Webcamera Obscura is a simple tool that helps reclaim privacy within the age of mass surveillance. It
is a masking device for laptop webcams that can be used to rewrite, reform and re-invent the images and private
spaces that are accessed by one's online observers. The socket allows one to be seen through imagery of one's
choosing such as vellum, transparencies, plastic, film or darkness. One could make observers look through the
drain of a 3D printed toilet or filter themselves through the softness of flowers.
The Webcamera Obscura
Project
Your Webcam is Yours!
The act of monitoring individuals or groups of
individuals objectifies people or worse, assumes that
they endanger the status quo. Though this threat may
encourage us to protect our privacy by hiding in the
digital underground: Your webcam belongs to you! The
Webcamera Obscura encourages one to continue to
participate in telepresence as an empowered observed
individual this means setting one's own terms for
being seen and developing a personal visual voice.
How To:
The basic Webcamera Obscura is designed to fit a
Macbook and most modern laptop monitors the .stl
can also be modified to suit your PC dimensions needs.
You can then modify and / or print modules to shift into
the basic socket.
The basic Webcamera Obscura is called
'webcamera_obscura'.
The basic module is called 'webcamera_obscura_
blank'.
We used .svg-files exported from Illustrator (save as
: .svg) to cut out forms.
In Blender: Import .svg, in Object Mode > Object
> Convert to > Mesh from Curve, then move your
Mesh into the Plate-Object so they overlap, next
in Object Mode use the modifier 'Boolean' for the
Plate, Operation: Difference.
Within the modifier you can choose the mesh.
#toolkit #resistance #remesh
Format Theme Action
Instead, you can also use .svg-files with your own
models (the principle is the same).
Once the Webcamera Obscura is printed, the frame of
the basic socket is yours to play with. You could use
our examples: The blank, the toilet, the camera, the
crosshair, the heart and the customizer. The customizer
can hold any material you like to experiment with:
flowers, paper, trash, letters ('back in 5 mins'), reflecting
material, mirrors, lenses etc. We will continue to create
new Webcamera Obscura Images, show us yours:
#Additivism #WebcamObscura.
Add and Obscure
Today's activists typically counter surveillance through
encryption, anonymous attacks and by completely
erasing the image of the self from digital spaces.
These acts of protecting oneself are natural responses
being observed can create feelings of fear and
destabilization. Instead, we would like to encourage
artists / activists to turn their measures to maintain
privacy into additivist actions by adding layers and
ideas of their identity and allow them to transform their
presence within surveilled realms. The Webcamera
Obscura subverts this technology used for seeing
and being seen by suggesting methods for using it
disobediently by recreating what is perceived as private
space.
Norman Hogg The Mill Chaffer OPrint Heed 2015 #fabulation #futures #detach
Author Project Year Format Theme Action

The Mill Chaffer

oPrint Heed

An knowlechen
this Print Heed!

says the other,

God by his
merueillous
provydence.
The Mill Chaffer OPrint Heed
Project
Th X-Y-Z Hi-mak Shoppe at th Rideau Skywent
entrance tae th Hudson Bay Company also Hosts
th open-heaued reclusorium o descendre Ylem-
stylite an prolapse conceipt-mayster Print Heed.
Driven tae outemest lufte-penance by extra-mannish
nerve-twangs, Print Heed had maniped skeeletal tree
a-bending fi foreheed tae fta fir thirteen yeer atop
garret C o th Place de Plasm. Kerne-shocked tae
be re-humaned by th Homliche Organum o XYZ
fi whech hi darked darklyn, he tak tae wyld grazing
hot n ready mill chaff in Confederation Park until
th neu Hermit Safari an bi-annual Bi-toon Lik-a-me
Sleeve Jaunt Fests for-cursd him unto a purtenaunce
cell in th unergroon kartorium o Rideau Centrum.
Tae proper end th psychic additions o ungraspable
weorld an tru bi-come a blastet oot plumpf-tum he
hungen his lika-me in AnaliscanTM wardrobe until
th crawe-bones de-breken an full twin no-mobile
unlika-me wis achieved. In th Hi-mak Shoppe booty
room he noo sits in his mecha-prosthesis governailed
by a wand-O-physic twischand by tong-flix an wange-
toothe. Th huddy-peke, one-fold plumpf-maysters
stoke his weolcne-migraine wi steoren saturated
parchment scrips. Gallerie allure-acateurs refract his
ee-pouren throu side-dartin, oh-no-shit-shit eyes.
Kopf-klamors impede th pos-parlatorium wi nuf-
giffe o pop gale-gale fellows.
As ou approach Print Heed ou ouer-sen th tab-
boke o its lappy. It is no sum Boke of Print Heed
but a boke mad o th bone-skyne o Print Heed
an containeth th idee o Print heed. It is not our
boke (sum boke of ou) but a boke mad o our
bone-skyne an containing th idee o ou. As ou
mak our marks, th marks ou mak an rede are ou
in this boke. ou are boke and i-maks. This is our
skyn an bone, liver an brain. ou an our X-weorld
an Y-weorld an Z-weorld are th marginalia an
th marginalia is corpus (plumpfed lika-me) wi aw
comyn corpuses (plumpfed lika-they) o solid stool
Makar empressions (permissions rede an wryte =
#fabulation #futures #detach
Format Theme Action
xyz-mak-ed). Th plumpf scribes hath multi-verso
that evolve in Bible poblem trend sequens but not
lite pattern nor up/down or T-type life rebel. No
bow erection but amal-gaming o core-darklyn and
sem-babel. O Jes us three verso, A, B, D, ou an
alle-dinge enformyed. A is relative short, B is most
comyn verso, an C semen tae be xyz axix-mak o B,
tho B verso existit wi som o th C delany-matere,
thurghout. It is comyn gree that C is th moyste
noteful an lusti PKDick Heed verso. It wis th moyste
verso that enformyed th first prynted verso an i-mak
ou MODERN seolfie.
An so it geht.
Th plumpf-scribes were lazer blaste-gifted special
suite-fley Print Heed germ partikens unloosed as
Ylem gas. Scrambled for, an frenzy vialed wi stopper
an latin-labels, Print Heeds frayin mesh wis punker
by three-fold (X,Y,Z) than aw boke-massif encorpsife!
It wis bi-smeoruwed an en-firmed wi wroth, plastik-
glans an wicked wille, wi inflatable envy an alembyk
sprache-gramme enticing tae co-arten,
ee-lying, lack-mimy an lief tonge fir plumpf sex an
all fir licke-penny an trend humastic after-clappy.
A museum o maggots that gnaws God wi th
plastic-gorge when th guts fu. This doctour on th
high das drunks wyn fest as transfigured fi plumpf-
monkish piss. He Hi-mads look-only dis-plays o
sundry plasmeats, mortrews an pud dings, womb
clouts an wild braun an display eggs X-Y-Z-fried an
ets them up whan were awa tae bed. An then shall
his guts gothele, an he shall galp efter. For noo he
hath drunk so deep he will semen by Plumpf-trend
thingy apocalypse that nether bacoun, nor braun, nor
blancmange, nor mortrews, fish nor lika-me is fod for
a penitent. A richt flaunt-a-flaunt o sigaldren, tele-
wood craft an nigromancye so he is, was sed by ou.
A-flaumbe, ma chattel wilst thee, thy protesting
moder! cryed Print Heed noo thrustin th action
tank at th ees o himself. But than Print Heed
The Mill Chaffer OPrint Heed #fabulation #futures #detach
Project Format Theme Action

Jornay-docteur Print Heed (that is OU) aryven in

X-Y-Z Hi-mak Shoppe wi yer swikel raggs an gleo-
beame brede sculptilis. Aye, gid fur un-bi-come but
wi seolfie-diffamen. Shew Print Heed (that is OU) if
ou can, ony poynt o aw thy Hi-mad plumpf thinges
whichin ye strive for quiddities o Soule, Entencion,
Mynde, Memo, Resun, Sens, Lofe, In-wit an Elan-
Sprite but are altegether encorsife an externe fod-
matters an un-clense enchauntements o sie-craft.
Nae kyn o hali-gast neo-minde jobby shyrnes (the
modesty cubicles, ceramic graves, oh my, oh my
etcetera, etcetera!)

ouer-sen an smelt som maple bacoun thurgh-girt

thar on th end o it seolfie-stick an his mouth flode
wi lusti sleaver. Th universe flattened, abstracted
an contracted an at th exact geometric center o its
plane flooten th X-Y-Z-baken tidbit o weorld-brede.
A game-gobelyn commanded his lymme-muscles
tae fleen but instead forced his tonge tae say th
prosthesis tae sprung a grabber an teste th gid
chaud mod fodder. A wild uggynge passed ouer Pint
Heeds un-deed body. He closed his ees an sehen
in th midst o swety napalm smok, th stingy ees
o th canook Martyr McLuhan a-gastin in death-
angers ouer his paraplegic protg cought in th act o
rechen for hogless bacoun-bit.

Smash th waferer! hissen Print Heeds mouth, lika

ventaculum butt o heretic when a-slepe on-fire. He
tonge vor-priked his lika-me chairiot violently over A
an strenkyl th devilish Walker wi mare Guilty- wwww wheche thinges abouen recited conteine
Diamond pukked fi couert waterbulge. Th mecha- th hool googleum an efecte o aw th mod weorld
Print Heed failed tae total explod intae vial-syuff, or X-Y-Z Hi-makar groupes: so are they aw lika-me
intae loose story-glyph but turned a glaren shad o exerce, anthro consistin o th externe operate o
crimson an lunged at Print Heed wi a blode-curdling replumpf huma eighteen+. But noo th order o oor
yoller. Print Heed kept stalling his plumpf deck as plumpf groupes an wey o sowle heling consisteth
he fled fi th flailing o mecha-Print Heeds bacouny nae in seche lika-me or externe thynge as thos, but in
seolfie-staff, an he escaped witout MODERN holes otherweyes more Hi-mad an more trend-sphere X-Y-Z
only bi-cause th relic-chasin leeper-pylgrym wis Jaunt gifts whech ouer-cummen an ouer-faren th
areedy Jaunted and for-goose trend plumpfed. mere-stanes o lika-me an boke-skyne. The fantome
multiplicacioun thus hae expounen an non doth
An knowlechen this Print Heed! says the other, God protest.
by his merueillous provydence, fir th X-Y-Z Hi-mak
o Weorld, cake-cutt knowleche o mecha-vicars An so it geht.
for th abolishynge o flaunt-a-flaunt an Idol after-
clappy! So as in these oure X-Y-Z dayes, we may wel
cock-lock wi fleshly-effect escalate traction contract
that spore eruptive meta-fak or jiggle-grasp Christos
coulde neer hae bene kept doon, except this mayste
menskful comyn-mynnyng an glyph-diffamen had
bin keep-haunten, wherby th sham full ypocrysie o
OU is cutt Print Heed an noo X-Y-Z tele-diffameden
live ouer th whole Weorld an Domes-man truthe be
cut oot, herde-baken an frakly avaunset!
Julien Deswaef and Matthew
Plummer Fernandez
Author
Shiv Integer
In mid-2015 Matthew Plummer-
Fernandez released a bot called
The-Collector that automatically
downloaded objects from
Thingiverse, a site for sharing 3D
printable models, and challenged
Julien Deswaef to make something
out of them. Conversations and
intense collaboration ensued over
the next few months, and Shiv
Integer was born.
Shiv Integer is a bot that inhabits
Thingiverse. The bot downloads
models and uses them to make
random assemblages that get
posted back on Thingiverse.
The bot complies with the open
licensing granted by the models
authors, only remixing files that are
published with the freedom to be
modified.
In the beginning Shiv was posting
5 to 15 objects per day. Later, it
was slowed down to roughly 4
objects a day. Shiv generated a
Shiv Integer 2015-2016
Project Year
lot of comments during the first 2
weeks, when all its creations were
still appearing on the front page
and in the main feeds. Comments,
complaints, reports and reactions
dropped when Thingiverse removed
all Shivs publications from the main
channels.
Thingiverse was never contacted
during the making of this project.
Once launched though, employees
of Thingiverse quickly got in
touch and were very supportive
of the project, although they were
receiving a lot of complaints and
were often asked to ban Shiv
completely.
Like an archaeologist visiting a
burial site, the bot makes no value
judgments, it amasses all it finds
in an assemblage of objects that
belong to a shared search space.
The objects are carefully collected
into folder structures that retain
their search-space identity. The bot
#device #kipple #remesh
Format Theme Action
A bot that inhabits
Thingiverse, downloads
models and uses them to
make random assemblages
that get posted back to
Thingiverse
makes random searches by pulling
a word from a dictionary, avoiding
the usual 3D print terminology and
biases, and instead seeking things
that answer to diverse words such
as insertions, fasteners, till,
example.
The bot still needs some work. It
only downloads STL files for now.
This can be fixed. One method
would be to download the zip file
with all the files in it instead of
individual files. To specify what file
formats it should take, you need
to find the MIME type for each file
format and add it to the list inside
the main python file.
Also it logs into a Thingiverse
account so get one of those and put
your account email and password in
the settings file.
[+] Built in Python
Dependencies: Selenium Firefox
Beautiful Soup randomWords
Shiv Integer #device #kipple #remesh
Project Format Theme Action

[+] Getting object #0

[+] No STL in that folder

[+] Getting object #0

[<] Importing : downloads/868658/D1600DashLEDHolderIndicator1.4.stl
[+] Cleaning non manifold
[!] Total removed V: 0.00%, E: -0.52%, F: -0.77%
[+] Preparing : D1600DashLEDHolderIndicator1.4

[+] Getting object #1

[<] Importing : downloads/430993/elettrone.stl
[+] Cleaning non manifold
[!] Total removed V: 0.00%, E: 0.00%, F: 0.00%
[+] Preparing : Elettrone
[+] Rotating object = Elettrone
[!] Volume difference is 119.03%
[+] Created duplicate : D1600DashLEDHolderIndicator1.000
[+] Staging objects : BOTH_TOP
[+] Union between : D1600DashLEDHolderIndicator1.000 & Elettrone
[!] Number of faces #1 : 899 + number of faces #2 : 396 = 1295
[!] Number of faces of union: 41
[+] Cleaning non manifold
[!] Total removed V: -80.65%, E: -66.07%, F: 4.88%
[-] Object is malformed
[-] Union did not work well. Discarding object.

[+] Getting object #2

[<] Importing : downloads/838370/buster_sword.stl
[+] Cleaning non manifold
[!] Total removed V: -0.07%, E: -0.15%, F: -0.18%
[+] Preparing : Buster Sword
[+] Rotating object = Buster Sword
[!] Volume difference is 0.05%
[+] Scaled Buster Sword by 592.63% Datsun merged with signal signal

[+] Created duplicate : D1600DashLEDHolderIndicator1.000

[+] Staging objects : BOTH_RIGHT
[+] Union between : D1600DashLEDHolderIndicator1.000 & Buster Sword
[!] Number of faces #1 : 899 + number of faces #2 : 5496 = 6395
[!] Number of faces of union: 6414
[+] Cleaning non manifold
[!] Total removed V: 0.00%, E: 0.00%, F: 0.00%

[+] Getting object #3

[<] Importing : downloads/23999/airport-proof-buckle.stl
[+] Cleaning non manifold
[!] Total removed V: 0.00%, E: -0.04%, F: -0.05%
[+] Preparing : Airport-Proof-Buckle
[+] Rotating object = Airport-Proof-Buckle
[!] Volume difference is 149.42%
[+] Created duplicate : D1600DashLEDHolderIndicator1.001
[+] Staging objects : BOTH_BOTTOM
[+] Union between : D1600DashLEDHolderIndicator1.001 & Airport-Proof-Buckle
[!] Number of faces #1 : 6414 + number of faces #2 : 8909 = 15323
[!] Number of faces of union: 11211
[+] Cleaning non manifold
[!] Total removed V: -0.02%, E: -0.01%, F: -0.01%

[+] Getting object #4

[<] Importing : downloads/33028/druplicon.stl
[+] Cleaning non manifold
[!] Total removed V: 0.00%, E: 0.00%, F: 0.00%
Shiv Integer #device #kipple #remesh
Project Format Theme Action

[+] Getting object #0

[+] No STL in that folder

[+] Getting object #0

[<] Importing : downloads/1050693/message_ring_customizer_20151003-25888-199ciu1-0.stl
[+] Cleaning non manifold
[!] Total removed V: -0.12%, E: -0.12%, F: -0.12%
[+] Preparing : Message Ring Customizer 20151003-25888-199Ciu1-0

[+] Getting object #1

[<] Importing : downloads/1157610/SLJ_Final-8cm.stl
[+] Cleaning non manifold
[!] Total removed V: 0.00%, E: -0.93%, F: -1.39%
[-] Object is malformed
[+] Deleting bad source : downloads/1157610/SLJ_Final-8cm.stl

[+] Getting object #1

[<] Importing : downloads/1069011/Gripz.stl
[+] Cleaning non manifold
[!] Total removed V: 0.00%, E: 0.00%, F: 0.00%
[+] Preparing : Gripz
[+] Rotating object = Gripz.007
[!] Volume difference is 8731.13%
[+] Scaled Gripz.007 by 48.56%
[+] Created duplicate : Message Ring Customizer 20151003-25888-199Ciu1-0.001
[+] Staging objects : BOTH_BACK
[+] Union between : Message Ring Customizer 20151003-25888-199Ciu1-0.001 & Gripz.007
[!] Number of faces #1 : 1642 + number of faces #2 : 240 = 1882
[!] Number of faces of union: 1907
[+] Cleaning non manifold
[!] Total removed V: 0.00%, E: 0.00%, F: 0.00%

[+] Getting object #2

[<] Importing : downloads/1178037/Tree_Stand.stl Holder and a portable Base

[+] Cleaning non manifold

[!] Total removed V: 0.00%, E: 0.00%, F: 0.00%
[+] Preparing : Tree Stand
[+] Rotating object = Tree Stand
[!] Volume difference is 375.34%
[+] Created duplicate : Message Ring Customizer 20151003-25888-199Ciu1-0.000
[+] Staging objects : BOTH_RIGHT
[+] Union between : Message Ring Customizer 20151003-25888-199Ciu1-0.000 & Tree Stand
[!] Number of faces #1 : 1907 + number of faces #2 : 7142 = 9049
[!] Number of faces of union: 8938
[+] Cleaning non manifold
[!] Total removed V: 0.00%, E: 0.00%, F: 0.00%

[+] Getting object #3

[<] Importing : downloads/892751/coin_20150622-13780-11rg713-0.stl
[+] Cleaning non manifold
[!] Total removed V: 0.00%, E: 0.00%, F: 0.00%
[+] Preparing : Coin 20150622-13780-11Rg713-0
[+] Rotating object = Coin 20150622-13780-11Rg713-0
[!] Volume difference is 5.35%
[+] Scaled Coin 20150622-13780-11Rg713-0 by 123.17%
[+] Created duplicate : Message Ring Customizer 20151003-25888-199Ciu1-0.001
[+] Staging objects : BOTH_LEFT
[+] Union between : Message Ring Customizer 20151003-25888-199Ciu1-0.001 & Coin 20150622-
13780-11Rg713-0
[!] Number of faces #1 : 8938 + number of faces #2 : 2240 = 11178
[!] Number of faces of union: 9599
Shiv Integer #device #kipple #remesh
Project Format Theme Action

[+] Getting object #0

[<] Importing : downloads/969559/independenceday_cyba.stl
[+] Cleaning non manifold
[!] Total removed V: 0.00%, E: 0.00%, F: 0.00%
[+] Preparing : Independenceday Cyba

[+] Getting object #1

[<] Importing : downloads/424410/keyPrism.stl
[+] Cleaning non manifold
[!] Total removed V: 0.00%, E: 0.00%, F: 0.00%
[+] Preparing : keyPrism
[+] Rotating object = keyPrism
[!] Volume difference is 1.78%
[+] Scaled keyPrism by 177.77%
[+] Created duplicate : Independenceday Cyba.001
[+] Staging objects : ON_BACK
[+] Union between : Independenceday Cyba.001 & keyPrism
[!] Number of faces #1 : 8408 + number of faces #2 : 666 = 9074
[!] Number of faces of union: 9082
[+] Cleaning non manifold
[!] Total removed V: 0.00%, E: 0.00%, F: 0.00%

[+] Getting object #2

[<] Importing : downloads/186577/magnificent_inari-snaget.stl
[+] Cleaning non manifold
[!] Total removed V: 0.00%, E: 0.00%, F: 0.00%
[+] Preparing : Magnificent Inari-Snaget
[+] Rotating object = Magnificent Inari-Snaget
[!] Volume difference is 17.23%
[+] Created duplicate : Independenceday Cyba.000
[+] Staging objects : ON_LEFT
[+] Union between : Independenceday Cyba.000 & Magnificent Inari-Snaget
[!] Number of faces #1 : 9082 + number of faces #2 : 334 = 9416
[!] Number of faces of union: 57 Kennedy off a Dentist ORGANIZER

[+] Cleaning non manifold

[!] Total removed V: -12.95%, E: 12.44%, F: 75.44%
[-] Object is malformed
[-] Union did not work well. Discarding object.

[+] Getting object #3

[<] Importing : downloads/882194/marvy_mountain_dentist.stl
[+] Cleaning non manifold
[!] Total removed V: -0.38%, E: -0.43%, F: -0.45%
[+] Preparing : Marvy Mountain Dentist
[+] Rotating object = Marvy Mountain Dentist.012
[!] Volume difference is 0.91%
[+] Scaled Marvy Mountain Dentist.012 by 222.70%
[+] Created duplicate : Independenceday Cyba.000
[+] Staging objects : BOTH_BOTTOM
[+] Union between : Independenceday Cyba.000 & Marvy Mountain Dentist.012
[!] Number of faces #1 : 9082 + number of faces #2 : 6630 = 15712
[!] Number of faces of union: 15254
[+] Cleaning non manifold
[!] Total removed V: 0.00%, E: 0.00%, F: 0.00%

[+] Getting object #4

[<] Importing : downloads/249818/JFK_Bust_-_Bust.stl
[+] Cleaning non manifold
[!] Total removed V: 0.00%, E: -0.00%, F: -0.00%
[+] Preparing : JFK Bust Bust
[+] Reducing the number of polygons by 84.68%
Shiv Integer
Project
Datsun merged with signal signal
by shivinteger, published Mar 1, 2016
is licensed under the Creative
Commons Attribution Share Alike
license.
[0] Thing Title : R. Maker Mark I
[0] Thing URL : http://www.thingiverse.
com/thing:11654
[0] Thing Author : Mr_MegaTronic
[0] Thing Licence : Creative Commons
Attribution Share Alike
[1] Thing Title : 357 Revolver
[1] Thing URL : http://www.thingiverse.
com/thing:17352
[1] Thing Author : wgss
[1] Thing Licence : Creative Commons
Attribution Share Alike
[2] Thing Title : NYLON Windmill
Flange to reduce Bird Mortality
[2] Thing URL : http://www.thingiverse.
com/thing:23961
[2] Thing Author : Taulman
[2] Thing Licence : Creative Commons
Attribution Share Alike
[3] Thing Title : Airport Proof Belt
Buckle
[3] Thing URL : http://www.thingiverse.
com/thing:23999
[3] Thing Author : thebluedirt
[3] Thing Licence : Creative Commons
Attribution Share Alike
[4] Thing Title : OpenSCAD Druplicon (
a.k.a. the Drupal logo )
[4] Thing URL : http://www.thingiverse.
com/thing:33028
[4] Thing Author : sponnet
[4] Thing Licence : Creative Commons
Attribution Share Alike
[5] Thing Title : Randomized Circular
Gallifreyan Coin
[5] Thing URL : http://www.thingiverse.
com/thing:46889
[5] Thing Author : laird
[5] Thing Licence : Creative Commons
Attribution Share Alike
[6] Thing Title : Anti Splatter paper
bowl cover
[6] Thing URL : http://www.thingiverse.
com/thing:65353
[6] Thing Author : tmorris9
[6] Thing Licence : Creative Commons
Attribution Share Alike
[7] Thing Title : Bird Spikes for Imperial
Mailboxes (2014 Version)
[7] Thing URL : http://www.thingiverse.
com/thing:368554
[7] Thing Author : TinmanTechnology
[7] Thing Licence : Creative Commons
Attribution Share Alike
[8] Thing Title : Organic chemistry
stencil
[8] Thing URL : http://www.thingiverse.
com/thing:578346
[8] Thing Author : mattiles
[8] Thing Licence : Creative Commons
Attribution Share Alike
[9] Thing Title : RF Explorer Stand
[9] Thing URL : http://www.thingiverse.
com/thing:754510
[9] Thing Author : jurnaza
[9] Thing Licence : Creative Commons
Attribution Share Alike
[10] Thing Title : Buster sword
[10] Thing URL : http://www.
thingiverse.com/thing:838370
[10] Thing Author : flameblade
[10] Thing Licence : Creative Commons
Attribution Share Alike
[11] Thing Title : Sintron Prusa i3 MK8
Extruder Proximity sensor and cooling
fan mounts
[11] Thing URL : http://www.thingiverse.
com/thing:853080
[11] Thing Author : lslewis901
[11] Thing Licence : Creative Commons
Attribution Share Alike
[12] Thing Title : Datsun 1600 / 510 LED
dash light turn signal
[12] Thing URL : http://www.
thingiverse.com/thing:868658
[12] Thing Author : trent510
[12] Thing Licence : Creative Commons
Attribution Share Alike
[13] Thing Title : Mercedes W126
560SEC Digital speedometer pinion
gear (12 tooth)
[13] Thing URL : http://www.
thingiverse.com/thing:949801
[13] Thing Author : mikesc220
[13] Thing Licence : Creative Commons
Attribution Share Alike
[14] Thing Title : Sextruder V2
[14] Thing URL : http://www.thingiverse.
com/thing:991638
[14] Thing Author : s0up
[14] Thing Licence : Creative Commons
Attribution Share Alike
[15] Thing Title : Sewer Sluice with floor
drain/grate
[15] Thing URL : http://www.
thingiverse.com/thing:1023329
[15] Thing Author : Sytar
[15] Thing Licence : Creative Commons
Attribution Share Alike
Holder and a poratble Base
by shivinteger, published Mar 1, 2016
is licensed under the Creative
Commons Attribution license.
[0] Thing Title : Collectable Art
Collector Art Toys Sexyboy Series
[0] Thing URL : http://www.thingiverse.
com/thing:27289
[0] Thing Author : CosmoWenman
[0] Thing Licence : Creative Commons
Attribution
[1] Thing Title : 80mm fan mount
#device #kipple #remesh
Format Theme Action
[1] Thing URL : http://www.thingiverse. Mount for Motorbike Handlebar
com/thing:95842 [12] Thing URL : http://www.
[1] Thing Author : Dekker3D thingiverse.com/thing:1341905
[1] Thing Licence : Creative Commons [12] Thing Author : And0rphine
Attribution [12] Thing Licence : Creative Commons
Attribution
[2] Thing Title : Solder Spool Holder
Can
[2] Thing URL : http://www.thingiverse.
com/thing:636275
[2] Thing Author : Paintballmagic
[2] Thing Licence : Creative Commons
Attribution
[3] Thing Title : (New) Maddie Smith
[3] Thing URL : http://www.thingiverse.
com/thing:892751
[3] Thing Author : mwhitaker Kennedy off a Dentist ORGANIZER
[3] Thing Licence : Creative Commons by shivinteger, published Mar 4, 2016
Attribution is licensed under the Creative
Commons Attribution Share Alike
[4] Thing Title : TomsRing license.
[4] Thing URL : http://www.thingiverse.
com/thing:1050693 [0] Thing Title : Presidents Day
[4] Thing Author : jackarnold Commemorative John F. Kennedy
[4] Thing Licence : Creative Commons (Bust and Plinth)
Attribution [0] Thing URL : http://www.thingiverse.
com/thing:249818
[5] Thing Title : Grips, a silverware [0] Thing Author : mtdna
holder [0] Thing Licence : Creative Commons
[5] Thing URL : http://www.thingiverse. Attribution Share Alike
com/thing:1069011
[5] Thing Author : HeyitsAndy [1] Thing Title : PRISM ORGANIZER
[5] Thing Licence : Creative Commons [1] Thing URL : http://www.thingiverse.
Attribution com/thing:424410
[1] Thing Author : ThomasR
[6] Thing Title : Coque poratble [1] Thing Licence : Creative Commons
Samsung Galaxy Ace Attribution Share Alike
[6] Thing URL : http://www.thingiverse.
com/thing:1078011 [2] Thing Title : Marvy Mountain Dentist
[6] Thing Author : MATTGEEK [2] Thing URL : http://www.thingiverse.
[6] Thing Licence : Creative Commons com/thing:882194
Attribution [2] Thing Author : Maia943
[2] Thing Licence : Creative Commons
[7] Thing Title : Tweezers (single print) Attribution Share Alike
Type 1
[7] Thing URL : http://www.thingiverse. [3] Thing Title : cyba logo with flag host
com/thing:1081911 [3] Thing URL : http://www.thingiverse.
[7] Thing Author : Simonwlchan com/thing:969559
[7] Thing Licence : Creative Commons [3] Thing Author : cybadigitals
Attribution [3] Thing Licence : Creative Commons
Attribution Share Alike
[8] Thing Title : Trunk and Base for
FabShop Christmas Tree
[8] Thing URL : http://www.thingiverse.
com/thing:1178037
[8] Thing Author : Badgerous
[8] Thing Licence : Creative Commons
Attribution
[9] Thing Title : Multimeter wall bracket
[9] Thing URL : http://www.thingiverse.
com/thing:1222437
[9] Thing Author : RGN01
[9] Thing Licence : Creative Commons
Attribution
[10] Thing Title : Half of a spool holder
that uses 608zz bearings
[10] Thing URL : http://www.
thingiverse.com/thing:1277500
[10] Thing Author : boredzo
[10] Thing Licence : Creative Commons
Attribution
[11] Thing Title : Valentine Picks
[11] Thing URL : http://www.thingiverse.
com/thing:1326744
[11] Thing Author : barb_3Dprintny
[11] Thing Licence : Creative Commons
Attribution
[12] Thing Title : Apple Watch 42mm
Shane Mecklenburger Fall Recipe 2016 #recipe #resistance #detach
Author Project Year Format Theme Action

A recipe
Antonio Esparza The TurtleBag 2016 #fabulation #postnature #remesh
Author Project Year Format Theme Action

A 3D printed exoskeleton for turtles

that can distinguish plastic bags from
jellyfish, in order to enable them to
survive in a progressively postnatural
world

The
TurtleBag
The TurtleBag
Project
Post-natural limbs for non
human creatures: The TurtleBag
In this awakening from naturalism,
conflicting views of our choices
as humankind appear: should we
preserve nature and leave things
as they were or should we keep
pushing our limits to expand our
knowledge of new worlds? Within
this conflict between transgenes
and nature, between forests and
cities, this project suggests the
use of additive manufacturing to
find a third option for coexistence.
By understanding the needs of
natural beings and the challenges
they face, we can use existing
technologies to enhance their
capabilities and support their
shortcomings against postnatural
effects. In the present example, the
TurtleBag becomes an extra limb
for plastic digestion. The abscess
is designed as a second stomach
#fabulation
Format
in charge of eating plastic bags
before the turtle mistakes them as
jellyfish. By separating the bags the
turtle has more chances of survival,
extending its lifespan.
The TurtleBag is conformed by
a skeleton that through plastic
muscles compresses a pair of
vacuum bags on the top of the
turtles shell. The bags use a pair
of one-way valves to swallow
plastic bags through a small gap.
The entrance valve is activated
when the turtle stretches its neck
and opens the valve. The turtle
bag works since plastic bags are
completely compressible while
jellyfish are not. The TurtleBag
awaits the appearance of multi-
material desktop 3D printers. With
this technology, the TurtleBag
will be printed in just one process
accessible even on the most
remote of beaches.
#postnature #remesh
Theme Action
The TurtleBag exploits the
best unexplored quality of 3D
printers: immediate action. Great
conservation initiatives usually
belong to large international NGOs
that function like corporations. Why
should we restrict our action to the
conservation of our garden or the
separation of our waste? Additive
manufacturing allows us to create
highly complex objects without
looking for corporate approval.
The TurtleBag is designed to be
utilised not by Greenpeace or the
WWF; it is designed for the young
fisherman who needs to keep a
balance in his everyday context.
The TurtleBag is an object that
enables autonomous decisions for
environmental change. Lets design
for homeless birds, for intoxicated
fish, for bears that have been
restricted to small remnants of their
habitat. Lets invite them to coexist
in a postnatural world.
XXX Hwang andXXX
Sha Gaia Scagnetti An Archaeology of
XXX#Additivism 2016
#XXX #XXX #play #XXX
#methods #collide
Author
Author Project Project Year Year Format Format Theme Theme Action
Action

Title
An Archaeology of
#Additivism
Short description
We see futures
for prosthetics
that are not just
technical but
performative and
theatrical. We see
futures where
people not only
graft printed
tissues, but
swallow printers
themselves.
An Archaeology of #Additivism #methods #play #collide
Project Format Theme Action
An Archaeology of #Additivism #methods #play #collide
Project Format Theme Action
An Archaeology of #Additivism
Project
This technology, we absorb it, it weaves in and
out of us, so its not really an interface in the same
way people think about a screen or a face. Its a lot
more intimate than that. David Cronenberg
#Additivism promises a kaleidoscopic future. It
augments and threatens our bodies, it seduces and
entangles us among its fibers. We love 3D printing
and other rapid prototyping processes for the ability
to personalize what was previously commodified.
Custom replaces default. Manufacturers love additive
machining because it offers the potential to abstract
away whole swaths of expensive human labor.
Manufacturing loses its original meaning objects
made by hand. We move towards the macrofacturing
of corporations looking to remove bodies, and the
microfacturing of individuals machining objects that
accommodate their own bodies. Regardless, what
additive processes produce have newly intricate and
intimate relationships with our bodies, and it is these
relationships we would like to explore.
A Spectrum of intimacy
Experimentations with new technologies always
begin at the scale of the individual. Hands and
feet are the most familiar measurement tools, the
first dividers of our epistemological grid systems.
Accordingly, most additive objects are addressing the
dimension of our personal bodies. We organize the
objects that interact with our body along a spectrum
of intimacy: the external distant, the external
adjacent, the intersections, the internal adjacent, and
the internal immersed. The relationships and roles
between our objects and bodies change drastically
along this spectrum.
Objects like toys and trinkets fall under the external
distant, while garments and accessories are external
adjacent to our bodies. Objects that intersect with our
bodies are our prosthetics the artificial substitutes
or replacements of parts of our bodies our
enhancements and augmentations. Objects that are
internally adjacent touch our bodies but do not inhabit
them our sex toys while our internally immersed
objects are our transplants, our dental replacements.
We are not, however, simply meat and bones in a
vacuum. We are family members, residents, citizens.
When addressing objects and their relationships to
our bodies, we must not only address our individual
#methods #play #collide
Format Theme Action
bodies but all of the bodies that we are facets of. If our
own physical body is but one dimension, we would
like to map out the others.
At the second dimension we see the tribal body:
families, groups, teams. At the third, we arrive at the
urban body: our various groups interacting within a
defined space. At the fourth dimension, we see shards
of the societal body: our people as a whole, moving
through time.
With these axes to guide us, we have a useful model
for understanding relationships between our various
bodies (physical, tribal, urban, societal) and the
objects they interact with (external distant to internal
immersed).
With this model as a map, we can then take tours of
our various dimensions to describe what lies at each
level of intimacy.
The individual body
For the individual body, the external distant describes
the everyday objects that cram our spaces, the trash
we produce and we try to move afar. These objects
changed the way we live and move, but not the forms
of our bodies. At the the external adjacent we find our
personal ornaments, jewelry, clothes, hair decorations;
common to all human cultures, these are toys that
perform our bodies.
At the intersection we encounter our Cronenberg
prosthetics, the piercing devices we use to modify the
shape of our lobes, the augmenting machines that make
us cyborgs. Our tools and technologies populate this
space as well as Leroi-Gourhan describes in Gesture
and Speech, they have been shaping our bodies since
we evolved from gnashing and tearing with our teeth to
cutting and smashing with stones in our hands.
Medical endoscopy machines and sexual devices are
the internal adjacent at the dimension of the personal
body. They manifest our repulsion for inorganic
penetration, the anxiety for what can be lost inside,
the risk for rejection. Technology has pushed for
miniaturization, for less invasive technologies to
perform surgery and internal modification. But if
An Archaeology of #Additivism
Project
medical devices has represented our repulsion, our sex
toys incarnate our fascination (Japanese Ben Wa balls,
almost two thousand years old, still influence popular
culture). Organ transplants or birth control implants
are internal immersive. They shape not our identity
as such, but our survival and reproduction. They are
designed to become integral part of our body and
avoid rejection.
Explorations in this dimension fundamentally
contribute to our identity culture and provide a
platform for expressing our personalities, preferences,
tastes and fetishisms. These objects are embodiments
of our desires, our curiosity for the trivial. Much of
the existing additive explorations take place here:
our lifelike miniature celebrate the obsession for
additive self portrait (or our ravenous vanity), our
jewelry encodes memories into physical form; we now
decorate the body with our 3D printed life experiences.
In teknis, the body also is the starting point. A highly
customizable dress becomes an excuse to discuss
hinges dynamics and mechanics of materials (the
dress now posing again, after centuries, new questions
to the craftsmanship of a reborn tailor). Unique
prosthetics are re-discussing the idea organic tissue
that should be submissive to inorganic material.
Sex toys can be data-driven as those butt plugs
designed as a responsive representation of our society
controversies. Our tissue growths, meanwhile, seduce
and horrify us with ideas of transhumanism.
The tribal body
If we leave the individual body and zoom out, we
encounter the tribal body. We move from identity to
group cultures. Here we look closely at groups, teams,
friends, and family.
In pre-additive age, the objects that lie external are
our communal spaces: bars and restaurants, cafes and
offices. These are spaces where groups congregate
but do not own, where groups feel attachment but
are ultimately interchangeable. The external adjacent
objects are suited for the group but are not part of the
body the minivan, the conference room. They are to
our tribal body as jewelry is to our individual body.
The objects that act as prosthetics for the tribal body are
those that allow for cross-fertilization. Social networks
are prosthetics for social groups: they augment our
sense and allow interaction without presence. Schooling
when not siloed and privatized is a prosthetic of the
family, extending and mixing social groups together.
Military service training, still mandatory in certain
countries, is a converging point for individuals as
#methods #play #collide
Format Theme Action
representative of their family, is a prosthetic of the
family to the country.
Internal adjacent objects reside inside homes the
dinner table, the couch, the bed. Exposing these to
outsiders is a sign of intimacy. We touch our furniture
every day, we shape it to our needs by mean of constant
repetitive use. Furniture creates comfort and familiarity,
a representation of belonging to a group. The way we sit
at the dinner table or the design of our beds are a direct
representation of our tribal body futons in the east,
bunk beds for the military or the travelers, king size in
the west, twin beds for the youngsters.
The most intimate objects, however, are the ones
internally immersed in a group these are our
heirlooms and keepsakes. These stay in a group at
any cost Dianas engagement ring given by Prince
William to Catherine Middleton. These objects get
passed down for generations through family members
and proceed by means of symbolic value.
At the individual scale, we saw the research and
marketing done with additive processes for toys,
wearables, prosthetics, and organs. At the group scale,
furniture and automobiles are the constant point of
attention in new manufacturing processes. Large
scale machining must often be thought of in narrative
form: a linear order of operations. Highly specialized
subtractive or welding processes often mean bulky,
single purpose machines, while additive processes
experiment in complex geometries and meshed
internal structures with minimal machining steps, no
story on their surface.
The urban body
As we steadily zoom out from the tribal body to the
urban body, we see a different set of relationships.
The furthest removed from the body of the city
are the suburbs and airports their own deformed
urban bodies satellites of their host cities. Slums find
their place in the periphery; they are grafted to the
boundaries of the city.
The prosthetics of the urban body are the objects that
pierce and expand it these are our highways full
of cars. As Ballard beautifully describes in the short
Crash!: the experience of driving condenses many
of the experiences of being a human, the marriage of
the physical aspects of ourselves with the imaginative
and technological aspects of our lives. I think the
20th century reaches its highest expression on the
highway. Everything is there: the speed and violence
of our age; the strange love affair with the machine,
with its own death.
An Archaeology of #Additivism
Project
Internal to our cities are the objects fully absorbed.
Our subway stations, our restaurants, our bars the
places that are the most interchangeable for social
groups are the ones most internal to a city. These
facilities and spaces change form at the rate of a citys
metabolism but require delicate surgery to remove.
At the urban scale, people fawn over experiments in
additive architecture, making both public installations
and personal homes by printing in concrete. We see
experiments like the forthcoming 3D printed bridge
framed like a slow-motion tightrope performance,
spatial but transient. The bridge becomes urban by
accident. Like many architectural experiments with
new tools the first attempts are formal manifestos,
interventions that suggest rather than enact urban
change.
The societal body
At the edge of our model we arrive at the fourth
dimension the body of society.
Here at the very heart we find the citizens, the
politicians, the organisms within the societal body. At
the boundaries of the body we find the minorities, the
LGBT, the activists, the voices that are integral to the
societal body but that must fight to be heard. On the
periphery we have the migrants, the undocumented,
ones we often rely on but cannot acknowledge. Expats
and diplomats function as prosthetics here, foreign
entities that expand cultures. And outside we have the
monks and nuns, the hermits and nomads who have
rejected society entirely.
Additive technologies, nor do many technologies,
operate at this dimension directly. Change that
happens here happens refracted through the urban, the
tribal, the individual bodies we inhabit. It is here that
we stop our tours and begin to speculate about our
various futures.
Gaps and speculations
While we have seen the pre-additive objects
that populate each dimension and described the
exploration in additive technology that are currently
finding their space in this model, our model shows us
the gaps in our pursuits. Here we want to talk about
the speculative, not-yet-existing and the maybe-
never-existing.
We see futures for prosthetics that are not just
technical but performative and theatrical. We see
futures where people not only graft printed tissues, but
swallow printers themselves. To ingest our endoscopic
#methods #play #collide
Format Theme Action
devices has been a dream so far unutilized, but we
see the possibilities of construction within. We see
additive processes building organic substructures that
can then be slowly reabsorbed into the body or passed
through as waste.
In these futures lie possibilities and provocations.
As printing processes accelerate to be real time, we
see accretive fashion and ornamentation intensely
sculptural personal body modification applied as
directly and lightheartedly as henna tattoos. Cheap
and custom braces open up new danceforms
posturefuck. If the manufacturing process is to irrupt
fully into the home, we see the ashes of our elders as
future substrates for our heirlooms.
Fit will take on new signaling in culture as everything
becomes personalized. The stumbling gait of stolen
prosthetics will be worn with the same wicked pride
that follows the trunk rattle of overjuiced sound
systems of lowend cars. Upsizing and overprinting
will be the new sagging.
As the additive becomes embedded in the urban,
we see bodegas with 3D printers, pickup points for
personal orders. We see local rumors of which corner
store provides the best material or the finest grain of
printing.
Resolution will be a marker of class fast-run wide-
nozzle printing lumpy and disposable, the finely
tuned sintering of metals featureless. As such we see
additive architecture not just for high end residential
housing but for the periphery for the slums and
favelas to digest the waste of the city into building
materials. Cities will become machines not just for
consuming but composting of plastics and metals a
future of regurgitation, recombination, remixing not
just of reference and sample but material, of substrate.
Points of conflict
These points of speculation are not idle dreams
they are territories for colonization. The
conglomerates (themselves a performance of additive
capitalism) see the spaces of this model as new
markets. These manifest as our smart cities, our
wearables, our physibles. The same companies
hungry for the 3D TV to take off will hawk 3D
printers all the same. But it is in this consumption-
based push that we see a path of resistance, an
additpunk. If we can print it ourselves we do not
have to ask permission from the patents, the market.
This is the global supply chain equivalent of not
having to beg your parents for money. Just-in-time
manufacturing is trumped by just-for-me. If we
An Archaeology of #Additivism #methods #play #collide
Project Format Theme Action

can dream of computers as a bicycle for the mind,
personal manufacturing is a bicycle for the market.
This is a dream state, though. If #additivism is to
remain an active agent it must continue to be at
war with its own uses. The market-driven end-state
of hyper-personal macrofacturing is a condition
where consumers will be required to enter personal
information to purchase commodity goods. Your
toothbrush will require your height, weight, dental
scans, and gym statistics to make itself. Your dress
will require your measurements as well as your
recent bar and club visits to properly personalize
itself to you. Our bodies will be traced and modeled,
of course, but so will our social groups and our
workplaces. As #additivism envelops the individual,
the tribal, the urban, and the societal, the additpunk
resistance must be a measured struggle more tactical
than strategic. In our nightmares we see the additive
linked with the administration of justice, echoing the
machine described in Kafkas In the Penal Colony:
elaborately customized to execute criminals by
tattooing their sentence into their backs. A horrifying
thought, but our judgment has not been passed, and
we have time yet.

(Outline) Establishing a model of intimacy and bodies

A map of current additive explorations
Michelle Kasprzak Did Andy Like Anchovies? 2016 #replace #play #toolkit
Author Project Year Format Theme Action

A curated collection of
3D-scanned pizzas and
pizza slices, which
function as a contemporary
snapshot of the glitches
in hand-held 3D scanners
and the aesthetics of pizza

Did
Andy like
anchovies?
The Andy Warhol Archive in Pittsburgh
plays host to nearly everything that
Warhol ever owned. Our late Uncle Andy
had a habit of tossing things in boxes by
his desk, and then when they were full,
sealing them up, dating them, and putting
them aside. Some very odd things have
been found in these boxes. Entire pizzas.
Slices of birthday cake. A mummified foot.
An inflated BaTMan toy. Clark Gables
shoes. Etcetera. These boxes are better
known as the Time Capsules and pose
an enormous archival challenge. These
combinations of junk and treasure cost
$5000 each to open and properly preserve.
One cant help but imagine Warhol being
a little amused at some of the contents
of the Time Capsules being handled with
gloves and kept in mylar sleeves.

When I first learned of the Time Capsules,

I speculated that there would be little
insight into Warhol to gain from being
able to handle an old pizza that Warhol
purchased, never consumed, and then put
in a box. Most of the individual pieces will
indeed remain enigmatic, but considering
that the whole collection comprises 210
boxes, the Time Capsules are a significant
gesture. Moreover, as it often goes in the
art world: the holy of holies the hand of
Did Andy Like Anchovies? #replace #play #toolkit
Project Format Theme Action

the artist dictates what is important, so

the perceived significance of the objects
matters little to those at the Archive or
Warhol scholars. For some time I thought
hanging on to Andy Warhols pizzas was
absurd just throw them in a 3D scanner
in case a scholar really wants to know
what Andy took on his pizza later on and
dump the nearly-impossible-to-preserve
original. I thought it was messy, un-
curated, un-critical and maybe even lazy.
Now I see it a little differently: once in the
cardboard box, an ontological leveling
took place and the pizza is on par with the
wig; the mummified foot on par with the
Brillo box. Its perhaps impossible to say
what clues will be unearthed from these
objects, or from any object.

In a kind of wink to the Time Capsules and

the whole pizzas and half-eaten pizzas
and even lumps of pizza dough found
within several of them, I have curated a
collection of 3D-scanned pizzas and pizza
slices which have been captured using
the Autodesk 123D Catch app, AS WELL AS
SCANNING AND ADDING MODELS MYSELF. The
collection functions as a snapshot of
the quality of the technology now and
the random sampling of pizza styles; as a
kind of sly joke that a packrat like Warhol
might have appreciated; and as a usable
collection of 3D models of pizza, ready to
print. My dinner yesterday could sit, in its
imperfectly captured glory, on your desk
today.

Acknowledgement to ARDITI Agncia Regional para o Desenvolvimento e Tecnologia

under the scope of the Project M1420-09-5369-000001 PhD Studentship
Fahmy Shahin Plastic/Ocean/Desert/Sky 2016 #fabulation #outside #collapse
Author Project Year Format Theme Action

A battlefield where narratives of

self-fulfilling prophecies fight to
win a place in the material world

Plastic/
Ocean/
Desert/
Sky
Plastic/Ocean/Desert/Sky
Project
Plastic/Ocean/Desert/Sky
features identity as a battlefield,
where narratives of self-fulfilling
prophecies fight to win a place
in the material world. The goal of
this project is to initiate a series
of questions around the Islamic
narrative of the apocalypse, and
the parallels that are being actively
drawn and circulated everyday
between this prophecy and the
ongoing war in the Middle East.
The potential of using 3D additive
technology to materialize the major
figures of this narrative could
potentially and ultimately undermine
the whole narrative once it is
brought into the material world.
Modern interpretations of various
scripture dealing with signs of the
end are a vehicle for critique of
modern values and modernity. They
offer a narrative that recognizes
modernity as the last episode
leading up to the apocalypse.
Islamic eschatology and the
narrative of the final events leading
to judgment day (the day of
resurrection) occupy a large space
in Islam and in the Islamic collective
consciousness. According to the
prophecy a final battle led by
the Mahdi the redeemer will
take place, in which modern day
locations involved in the current
Middle East unrest are implicated.
The Antichrist is prophesied to
roam the earth, conquering cities.
Nothing will be able to stop him
until Isa Jesus descends from
the sky to Damascus and defeats
him so then true religious ideals
can flourish again in preparation for
resurrection and judgment. I cannot
ignore the power of this narrative in
influencing and shaping a radical
The Antichrist
Islamic identity, which is fascinated
with annihilation. One of the popular
arcs of this narrative argues that
Abu Bakr Al-Baghdadi, the leader
of ISIS, is the awaited Mahdi, the
successor of the prophet, who will
lead the Muslims army to battle
the Antichrist and his army of
70.000 Jews, who will emerge from
Isfahan, Iran.
The technology of 3D printing, a
product of a techno capitalist world,
relies on petrol. The production
of plastic could be viewed as a
commemoration of petrol. While
most of crude oil vanishes into
energy and heat, plastic, which
consumes 4% of it, is going to
stay long after petrol is gone. The
Antichrist, who will be 3D printed at
the end of this process, embodies
the entire struggle. It is the struggle
of a popular but imprisoned
nightmarish narrative that tries to
break to light, carried out by people
who believe they are meant to
bring it to the ground. They grew
up and expanded and claimed their
space in a vicious war between
kings of petrol who want to enjoy
modernity without really embracing
it and Western aggressors who are
commissioned by global capitalist
system that is driven by oil to
spread and transgress. It is as if
the will and power of the cycle of
oil, plastic and war is above the will
and power of even its players. The
prophecy, ironically, warned against
capitalism as one of the signs of
the hour. Different hadith stated that
among the signs of the hour the
sheepherder, barefoot nation of the
desert would have wealth and rule
people, and would build high rises
that would destroy them.
#fabulation #outside #collapse
Format Theme Action
In addition to the process that is
intertwined with oil, religion and
war, is the added layer of figuration.
The prohibition of figuration the
depiction of living beings plays
a powerful role in Islamic doctrine.
In this project it is a powerful tool
to shed light on the most inspiring
narrative of radical Islam; the
apocalypse. Utilizing figuration as
a starting point could be a trigger
for a much-needed process of
reformation in Islam that must
start with subverting the prophecy.
However, the project, ironically,
shares the same views of Islamic
rules forbidding figuration, but
approaches it differently. While
Islam considers representation as
an exclusive act of God that no
one else should be doing, I believe
in extending grounds for multiple
representations by creating a hybrid
person rather than only giving a
human face to a concept. For this
reason, I appropriate the illustration
of the book cover of Thomas
Hobbes Leviathan engraved by
Abraham Bosse as a template for
loaded meaning and signification.
Just as Hobbes represented the
state as a huge body made out
of people who give it legitimacy,
holding symbols of power and
religion, with a name referring to
a mythical creature that steeps in
religious mythology, the Antichrist
is an artificial, hybrid creature
with a body made out of material
with its history embedded in it,
and at the end of a long process
that started millions of years ago
when temperature and pressure
condensed every living being on
this planet into rocks in the bottom
of the sea.
Daniel Temkin The Unprintables
Author Project
The
Unprintables
Digital images (of the raster variety)
are grids of color information.
However, we never see the image
directly; our experience is mediated
through a second grid; that of pixels
on a screen or of inkjet dots. If we
view the image at anything other
than exactly 100%, what were
actually seeing is an approximation,
a mapping from one grid to the
other. The algorithm that determines
this approximation (often a variation
of bicubic interpolation), is meant to
maintain a sense of the content of
the image; colors should be similar
at different scales, boundaries
between regions should have similar
shapes if not the same sharpness,
2016
Year
etc. These are its biases. Subtler
changes are sometimes reduced or
disappear when zoomed out.
The Unprintables are digital
images that resist digital
representation at any scale. They
are big images; to view them at
a one-to-one mapping, reveals
only a tiny sliver of the image. As
one zooms out, the complexity of
their patterns prevents imaging
programs like Photoshop from
displaying the image in any
consistent way. There is nothing
in the image that can be treated
as content; shapes visible at each
level of zoom seem to contradict
those at other scales, as if the
#recipe #beyond #break
Format Theme Action
A series of digital
images that resist digital
representation at any scale
image were entirely replaced
by another. Furthermore, when
viewed on different monitors or
machines with different graphics
cards, the image can be wildly
different in terms of color and form.
As is the case with the same
Unprintable, viewed at the same
scale, but on a regular high-
definition display vs. a high-density
(Retina-style) display.
To show an Unprintable as a
screenshot or a print means
sharing a subjective experience
of the image unique to the scale
selected and the machine where
the screenshot was captured.
The Unprintables
Project
HOW TO CREATE AN
UNPRINTABLE IN 2D
What we want: a regular pattern
at the pixel level, something
dense, with a lot of contrast. A
checkerboard pattern, or a grid. It
is easiest if there is pure black or
white as one of the colors used.
The contrasting color has different
rules: it needs to vary across the
image; this is important to trick the
algorithm into seeing it as shapes,
rather than a plain field of color.
The changes in color should span
hundreds of pixels at least. The
patterns can be repeated, it is
best if they are not quite identical,
changing slightly in scale or color.
1. Start with a new document in
Photoshop. It must be large; at least
10,000 pixels in each direction,
although around 30,000 is ideal.
2. Add some simple abstract
shapes: bands of color, a gradient,
solid-colored blobs, with at least a
third of the image left black or white.
3. Save the image as a Photoshop
RAW file. Repeat each of the
following steps (in random order) as
many times as necessary, until the
image becomes unreadable:
a. Open it in a sound editor such as
Audacity and put sound effects on it
(still in RAW format).
b. Re-open it at the wrong
dimensions. Opening a RAW image
in Photoshop, the program will
ask for dimensions. Change these
#recipe #beyond #break
Format Theme Action
slightly, by perhaps a dozen or so
pixels.
c. Enlarge and shrink it just a tad, to
force some bicubic insanity on it.
d. Open it in the wrong resolution;
going from 8-bit to 16 is a great way
to artificially introduce complexity
into the pixel pattern.
e. Mess with brightness and
contrast until it becomes very hard
to look at.
As you go, zoom in and out when
it gets super whacked-out, youre
done.
How to build an Unprintable in 3D is
left as an exercise for the reader :)
Corinna KirschXXX
XXX and New Skins: From Fake Flesh XXX
to 2016 #XXX#methods #futures
#XXX #XXX
#smooth
Dylan SchenkerProject
Author Programmable Prosthetics Year Year FormatFormat Theme
Theme Action
Action
Author Project

TitleSkins: From
New
Fake Flesh to
Programmable
Short description
Prosthetics

Creativity is more
than just a mental
act. It is deeply
intertwined in the
mechanical process
of production.
New Skins: From Fake Flesh to Programmable Prosthetics
Project
Part I: Artificial Intelligence and the Need to Look
Like Humans, But Not Exactly.
Not too long ago, robots were covered in awkward-
looking wigs and glassy eyes. Meet Fritz, one of
those clownish-looking machines.
In 2007, Maren Bennewitz, Felix Faber, Dominik
Joho, and Sven Behnke, researchers at the University
of Bonn published a paper on Fritz. Humanoid robots
have become a popular research tool in recent years,
they wrote, which may seem commonplace now, but
back then, the development of human-like robots was
still an emerging field. As for the reasoning behind
making humanoid robots, they note that [o]ne of
the most important motivations for many humanoid
projects is that such robots could be capable of
intuitive multimodal communication with people.
With Fritz, his appearance as human only needs
to be human-enough; he only needs to assist in
communicating with humans. Although what Fritz
lacks in passable human features, he makes up for in
capabilities: he was able to speak, move his eyes and
other facial features, and interact with several people
at once. Fritz was developed to become one of the
aforementioned multimodal communication robots,
according to the researchers; he was designed with
the intention of taking on characteristics of a museum
guide. At the 2006 Science Days festival, Fritzs
capabilities were put on view: he could gesture for
people to come closer although the researchers said
the come closer gesture did not always have the desired
result. In the beginning of the interaction, some people
were still too shy and barely wanted to come closer to
the robot. This effect is not uncommon even for human
museum guides starting a tour. Another take is that
this may have been an instance of the uncanny valley,
whereby Fritz did not pass, and as such, was avoided.
Going beyond the issues contained within the uncanny
valley can be achieved, but only when communication
models forego human subjectivity as the reason for
robots existence, with the robots-helping-people
model. Communication involves messy relays, from
human-to-robot, robot-to-human, animal-to-human,
inorganic to organic, and with each of those models
being torn asunder by the reciprocal crisscrossing
of each and every one of these fields into each other.
Communication looks like one big scribble.
2007 was not so long ago, but the field of robotics
has shifted greatly, like any tech industry. The aim
for social robots has not dissolved, but a greater focus
on service-industry robots, even at the University
of Bonn; one robot currently in development is the
Cosero model. Cosero can fetch you a drink, save
#methods #futures #smooth
Format Theme Action
your life, or clean up after your children. No word yet
on whether the robot will fetch other robots a drink,
try to save their lives, or clean up after their eventual
children.
His features? A vast improvement over Fritz, although
he is still not fleshy. And unlike Hollywood portrayals
of skin on AI, from Ex Machina to Humans, the
companies that have developed robots with human-
like skin have tended to focus on the entertainment
industry. One of those companies, Hanson Robotics,
has patented a material called Frubber, a play on the
terms flesh and rubber. From the Hanson Robotics
website: In this activity, Hanson Robotics seeks to
understand and model the human being, deliver living
robotic characters to the consumer, and accelerate
progress towards greater-than-human intelligence in
machines. For your human entertainment, of course.
Conversely, while we worry about whether robots look
more-or-less human, we are becoming increasingly
less concerned if humans look human. With regards to
skin, in particular, it becomes an afterthought in the
domain of prosthetics when considerations of function
or aesthetics are given primacy. Arms no longer need
to look like arms.
For example, at the Alt Limb Project, users of
prosthetic limbs have arms and legs that are
tantamount to a baroque sensibility: a woman has a
snake slithering through the crevices of her arm for
no other reason, probably, than that it looks cool. On
the other hand there are athletes that have the blade-
like legs that are more fit for running. Theres even
waterproof legs and legs designed for diving. Recently,
a French tattoo artist recently received the first ever
tattoo gun arm prosthetic.
The same goes for legs or any other body part. A
prosthetic extends, enhances, and potentially
completely transforms how we think about the human
body. With the increasing ubiquity of 3D printing,
prosthetics are becoming less of a medical tool and
more of a commodity or fashion accessory.
Imagine a closet or dresser full of designer legs or
arms that fit an outfit. Model Aimee Mullins owns
and has worn legs designed by Alexander McQueen.
Although we have improved in the domain of skin and
appendage verisimilitude, there remains the question
of what a prosthetic can do with the potential of new
technologies behind them. 3D printing, as well as
open source ethics, makes prosthetics much easier to
develop new designs and thus opens the doors to new
ways of terraforming the human body.
New Skins: From Fake Flesh to Programmable Prosthetics
Project
Conclusion: In robotics, AI are crafted to take on
human characteristics. The reasoning behind this
move is that AI will be able to better communicate
with their human counterparts if they look human.
There is no desire for robots to have their own
particular mode of being; they are crafted under
the aegis of being-like. Conversely, technologies
that extend human capacity to communicate with the
environment do not need to look human-like. So
theres a social component, but still human-centered.
Robots are still commodities, rather than a part of the
environment that will remains with us, and in this
sense, no different from the means with which we
regard the Arctic Ocean or world heritage sites.
Part II: The Future
In this section, we look at possible future scenarios
and how the current research presents dilemmas and
opportunities.
The Human-Like: Finding Flaws in
Facial-Recognition Technology
Surveillance technology has become commonplace.
As it currently works, facial-recognition technology
separates skin pixels from non-skin pixels. We can
easily imagine a surveillance future with facial
recognition at grocery store entrances, to recognize
former shoplifters. Facial recognition to unlock a
car door. Facial recognition to spy on others, and for
others to spy on you.
But if robots end up with human-like skin or, say,
a prosthetic face then how would that complicate
facial-recognition technology? They could certainly
pass as human based on how facial-recognition
technology currently operates, identifying pixels
by color. A robot could move clunkily, speak with a
stutter, or have e-skin. It does not matter; robots would
pass through surveillance areas just like humans do.
Skin is everything.
If theres an upside to surveillance technology, theres
only one: intimacy between humans and robots will
increase, on however much a small scale. Waiting in
line to be surveilled, they wait in line together, chat
with each other, and occasionally graze against each
other. They exchange numbers, then remind each
other after parting ways to have tea next Thursday, at
3:00 p.m. sharp.
But thats just being optimistic.
As for the surveillance system itself, the robot
becomes a bug, having become one way to discover
the systems flaws.
#methods #futures #smooth
Format Theme Action
While prosthetics and who or what is controlling
them is more of a human-sided problem, what about
the legality of robots wielding guns? As silly as the
question might sound of whether or not a drone
firing a gun is protected under the 2nd Amendment
it is a serious precursor to the likelihood that a
human-featured robot could one day carry a weapon.
Does the question of how much a robot looks and acts
human affect our approach to this subject matter?
Regarding the current state of affairs, that the notion
of a drone firing a weapon separate from its own
apparatus or body is seen as an altogether more
violent version of the militarized version currently in
use. This distinction, of a body, affects how we think
about robotic agency. How we mete out responsibility
to autonomous mechanized subjects will be a very
complex problem to unpack if technology such as this
becomes ubiquitous.
The Butcher
The underlying issue here that is impossible to
avoid but is difficult to talk about when it comes to
prosthetics an alternative or replacement (rather than
simply a medical accoutrement) is that for people to
have prosthetics there needs to be the loss of a limb.
As obvious-sounding as this probably is, if prosthetics
were to ever become a widespread phenomenon it
would require people to voluntarily get body parts
removed first. What are the moral implications of
this? Is it legal? As of now, most scholarly research
focuses on issues such as Body Integrity Identity
Disorder (BIID). This is the condition where a person
might feel a part of their body does not feel like
their own and causes extreme discomfort or mental
health issues. A person might desire to be paralyzed
or paraplegic to feel comfortable in their own bodies.
There have been cases of doctors, after consulting
with psychiatrists, saying that it is perfectly okay to
amputate healthy limbs for the sake of the mental
health of an individual. As the name makes clear it is
currently considered a disorder but if this issue arises
more in the future, perhaps in relation to the rise of
prosthetics and body augmentation it might very well
be more accepted to provide people with what they
might consider their true bodies as aligned with their
mental perception of themselves.
The Future
When considering prosthetics-as-product, questions
of control and responsibility begin to arise: if it is
branded, will the owner or developer of the prosthetic
have some say in the production of copyrighted
material? Creativity is more than just a mental act. It
is deeply intertwined in the mechanical process of
production. If we cant disentangle a creative act from
New Skins: From Fake Flesh to Programmable Prosthetics #methods #futures #smooth
Project Format Theme Action

the prosthetic that helped create it we can imagine to our bodies. In a similar regard, malfunctions
ownership and royalties becoming a more contested can also happen causing a modification to act in an
space. unintended way.

This is not necessarily the case when someone uses
particular photography equipment or paint brushes
(or applications like Photoshop, Maya, etc.). There is
no doubt about the identity of the author when they
paint a picture. There is still a physical separation
between the tool and the user in this case. Collapsing
the distinction between the two through the use of
prosthesis make authorship more ambiguous. With
generative art or art that is made through executed
code it gets a little bit more murky, but, at least for
now, we still ascribe authorship to whomever wrote
the code.
In a sense, depending how branded these technologies
are, lets say like an iPhone, we are actually becoming
the brand as much as we are the technology itself.
Instead of just swiping the touch screen of an iPhone
we would be activating one through electrical
impulses generated by our muscles.
What is at stake here is how much of the individual
is the prosthesis. It will get harder to distinguish
where the individual ends and where the technology
begins. Using words like controlled or worn
still imply the modification is separate from the
individual. Whether we define a prosthesis as a
direct extension of an individual or an accoutrement
simply worn, controlled or owned by them will decide
how we mete out responsibility. On one hand, a
modded individual shouldnt be held responsible for
defective technology. On the other, we dont want to
relinquish authorship because we define a prosthesis
or modification as distinct from its owner. We need
to develop a framework for how to talk through these
ambiguities lest we give away our agency to corporate
technologists.

That being said, there is a danger that a brand or

developer could demand creative rights to works
developed through their tools if an argument can be
made about how much agency is exacted through
a modification. Is the tool actually doing the work
or is it the person? Think about how were already
relinquishing consumer ownership through cloud
storage in the form of streaming or e-books. We use
these products but the actual product is withheld
from us.

When it comes to automated weapons such as

drones, the question of who is responsible for deaths
perpetrated by drones is also foggy. The same goes for
self-driving cars. We dont have a vocabulary or legal
paradigm for how to talk about responsibility in this
context. The Future of Life institute has already sent
a letter to the UN warning about the implications of
weaponized AI and the ability for technology to act
without human intervention.

It also is further complicated when we consider

its vulnerability to hacking. Its likely that as the
technology proliferates it will include some form of
wireless or bluetooth connection. With that in mind,
prosthetics with bluetooth or data or WiFi connections
could be hacked into or reprogrammed. The hackberry
by Japanese company exii, for example, is controlled
with a smartphone. There have already been stories
profiling how cars can be hacked and controlled while
they are driving. We need to take into consideration
the vulnerability of tech that is intimately connected
Body & SWINE The Pig Function Toolkit 2016 #toolkit #postnature #replace
Author Project Year Format Theme Action

3D printable toolkit to be worn in

conjunction with the ingestion
of Body & SWINE products. A
sensible homage to The Hominid
Appropriation of The Pig Function1

The Pig
Function
Toolkit
The worst average
you can be is hominid
average

When it begins to
hurt, thats when the
future starts

1 FIELDCLUB, Whey To Go: On the Hominid Appropriation of the Pig-Function, ed. Carsten Hller et al., Antenna, no. 12 (Spring 2010).
The Pig Function Toolkit #toolkit #postnature #replace
Project Format Theme Action

Body & SWINE Quality 100% Whey Protein

Feed ready:
As your trusted hominid nutrition partner in goal Body & SWINE
achievement, Body & SWINE Quality 100% Whey Quality 100%
Protein demonstrates a species independent passion. Whey Protein
From the milk byproducts we source for our SWINE is INSTANTIZED.
powder, to our state-of-the-art 3D printable Pig Function If you forgot your
shaker bucket or
Toolkit NO compromises are made. WE set the bar
dont have time to
higher by transforming problems into opportunities and
get out the blender,
employing technological prostheses to transfer the Pig
you can just add
Function to the human, extracting a surplus value in the
six rounded scoops
process. YOU set the bar higher every time you employ
of truffle flavored
our Exaptation MethodTM to bulk your abs. Quality 100%
Whey Protein
Achieving The Pig Function is a journey.* Like a to a trough filled
bodybuilder at the peak of their prowess, The Pig with your favorite
Function never rests, it never quits. Its about hominid capitalist beverage.
refinement, embracing self-husbandry, and recognizing Just slosh it up and
omniverousness as a bedfellow of capitalism. Reset snort it down: extra
your critical faculties to achieve again and again with our satisfying muscle
patented Exaptation MethodTM. tone guaranteed.
* Potential side effects of achieving The Pig Function: Fat gain, Kidney stones, Becoming delicious,
Capitalist co-dependence, Gastrointestinal strife, Indiscernibility from swine, Gout, Grandiose illusions
of self-husbandry, Proclivity for subterranean fungus, Cognitive contortions, Animal equality.
The Pig Function Toolkit #toolkit #postnature #replace
Project Format Theme Action

The Exaptation MethodTM

Suggested use:
Once considered as a waste product of cheesemaking Consume
whey is now prized for its bioactive peptide subfractions approximately 1
which provide the protein in all Body & SWINE gram of protein
bodybuilding powders and snacks. For thousands of per pound of flesh
per meal, through
years waste whey was fed to domestic swine, playing
a combination of
a role in the development of the animals gustatory
highly processed
attributes. This brute form of design-alchemy effectively
industrialized
transformed a dairy waste product into the delicious flesh
foods and protein
of the pig. Far from being instinctively exaptive, the pig supplements. For
was a reluctant domesticate, tempted out of the forest by even better results
the waste spilling over the rim of human society. Through wear your Pig
the extraction of surplus value from the waste of human Function tail at all
civilization our SWINE experts intentionally transferred times of the day
the benefits once available only to the pig DIRECTLY and night. Exapt
to your pectoral muscles. Et voil! The Exaptation to the hominid-
MethodTM was born. At Body & SWINE we believe that techno-capitalist-
the best way to predict our hominid future is to create it. ecosystem. Adopt
Join us TODAY by exapting YOUR muscles, mind, and The Pig Function
gastrointestinal tract to The Pig Function. TODAY.
The Pig Function Toolkit #toolkit #postnature #replace
Project Format Theme Action

The Pig Function Toolkit

THINKING
Because pigs have no spending power a hostile takeover OUTSIDE THE
was well overdue in order that the Pig Function fulfill its TROUGH:
true economic potential. The distinguishing marks of the Body & SWINE
pig are its snout, the instrument with which it does all its will soon release
mischief, and its tail, a curly icon of animal husbandry. an extended
With our FREE 3D printable toolkit you can usurp the range of cutting-
pigs role and incarnate its characteristics yourself, edge ungulate
overcoming hominid/animal disparities: supplements,
crafted in homage to
1. Recognize the porco-hominid gastrointestinal the finest functions
convergence by 3D printing your own Pig Function animal husbandry
has to offer. Look
snout and tail.2
out for our new
2. Exapt to The Pig Function with Body & SWINE
strawberry flavored
protein powders and snacks.
Bovine Spongiform
Keratin Shake
At Body & SWINE we strive to advance hominid from and complementary
even-toed ungulate and even-toed ungulate from hominid 3D printable Cow
and back again, until it is impossible to say which is which. Function toolkit.
COMING SOON!
2 It is recommended that the Pig Function Toolkit Tail be inserted / removed with the support of an
officiated Body & SWINE Exaptation Specialist.
Carl Gent #HeLadditivism 2016 #recipe #postnature #remesh
Author Project Year Format Theme Action

#HeLadditivism

From the originary

ur cell-line, from
the remotest
torbital traces,
and furthest
mutation from
their New World
ancestor we
propose to forge
blight, contagion
and imperceptible
disquiet.
#HeLadditivism
Project
Derived from cells in mid-mutation wrenched
from the cancerous cervix of a non-consenting
Homo sapiens, the immortal cell line used in
scientific research known as Helacyton gartleri,
or HeLa is a metaphor before it has even left the
laboratory. Its muteness belies the complications of
its history: that matter is the sum and prolongation
of our colonial ancestry; that creativity is brutal,
sensual, rude, coarse, and cruel. We declare that
the worlds splendor has been contaminated by a
new beauty: the beauty of vigorous auto-cloning,
posthuman cellular immortality and the erosion
of the identifiable. A planet peopled with the post-
person tissue of Henrietta Lacks miniscule tumorous
legion ...for a benign epidemic that runs on a self-
replicating nonhuman stability is more desirable
than the contents of Adam Curtis showreel; more
breathtaking than the Svalbard Global Seed Vault.
There is nothing which our infatuated race would
desire to see more than the sterile union between a
man and an Immortal Antigen. Yet humankind are
the antediluvian prototypes of a far vaster Creation.
The whole of humankind can be understood as a
synthetic medium, of which biological technology is
but one modality. Unthought and Unlife both have
been thoroughly dispersed on the winds of goods-
exchange.
Our spread and infantilism do not belong specifically
to us, but to all matter. Our technologies are the
sex organs of material speculation. Any attempt to
understand these occurrences is blocked by our own
anthropomorphism. In order to proceed, therefore,
one has to birth posthuman STIs, a fantasmagoric and
unrepresentable repertoire of actual re-embodiments
of the most hybrid kinds.
HeLadditivism will be instrumental in accelerating
the emergence and encounter with The Radical
Outside.
HeLadditivism can emancipate us.
HeLadditivism will eradicate us.
We want to encourage, interfere, and reverse-engineer
the possibilities encoded into the censored, the
invisible, and the radical notion of the HeLa cell line
itself. To endow the cell-line with the posthuman
faculties of plastic: condensing imagination within
material reality. To pollute the 3D printer with
the posthuman pockmarks of HeLa: condensing
prehistory within material imagination. The HeLa
cell then becomes a symptom of an ancient systemic
malady. A poiesis of exaptation, with the peculiar
brutality to be found in proliferation; in germinating
#recipe #postnature #remesh
Format Theme Action
a sub-culture. This is where cruelty and creativity
are reconciled: in the appropriation of all organic
matter to re-colonize technological prototypes. From
the originary ur cell-line, from the remotest orbital
traces, and furthest mutation from their New World
ancestor we propose to forge blight, contagion and
imperceptible disquiet. Let us birth grey goo from its
narrow robotic definition.
To expedite this suffusion we propose a nanny-
collective: one figured not only on the dissemination
of particular cell lines, but on the change those
beings enable as instruments of hybridity and
systemic corruption. Just as the printing press,
radio, photocopier and modem were saturated with
unintended particulates, so we seek to smother the
3D printer, its fuel, its food and every one of its
printouts with uncountable quantities of Henrietta
Lacks unsolicited brood. Just as a mutation can
un-resolve a species, so it can resolve something
more posthuman: manifold systems biological,
political, computational, material. We call for an
inter-planetary bloom, using HeLa cultures to
breach the material unconscious; a call that goes on
forever in virtue of this initial interjection. We call
not for passive, dead genetic cul-de- sacs but rather
for a gradual awakening of matter, the emergence,
ultimately, of a new form of life.
Life exists only in action. There is no innovation that
has not an aggressive character. We implore you
radicals, revolutionaries, activists, HeLadditivists to
distil your distemper into suppositories, encrypted
DNA, family trees, mutations, swabs, syringes, and
genetic patches. Creation must be a violent assault
on the forces of matter, and the forces that extrude
matter. Having extrapolated itself from ill-obtained
tissues The Beyond now begs us to be molded to
its will, and we shall drink every drop as entropic
expenditure, and reify every accursed dream through
genetic excess. For only HeLadditivism can accelerate
us to an aftermath whence all matter has mutated into
the homogeny of HeLa.
#HeLadditivism #recipe #postnature #remesh
Project Format Theme Action
Cat Mazza Stitch for Senate 2007-2009 #recipe #resistance #bridge
Author Project Year Format Theme Action

Hand knitted helmet liners

mailed to elected officials as a
persuasive method for support of
troops stationed outside the US

Stitch for
Senate

Stitch for Senate was an initiative of knit hobbyists from 2007-2008 to hand knit helmet liners for every United
States Senator. Building on the history of wartime knitting, a practice dating back to the American Revolution,
Stitch for Senate used the tradition of political organizing within knitting circles as a space for discussion,
skill-sharing and protest in the lead up to the 2008 senate elections. Hobbyists knitted to persuade elected
officials to support the troops by bringing them home. Every senator received their own helmet liner, mailed on
President Obamas inauguration. One hundred senators received a balaclava by mail in knitted American flags.
Ten Republican and Democrat senators replied, including the now Minority Leader Harry Reid and the 2016
presidential candidate Senator Bernie Sanders.
Stitch for Senate #recipe #resistance #bridge
Project Format Theme Action

STITCH FOR SENATE PATTERN

co cast on
k knit
p purl
bo bind off
k 2 tog knit 2 together

Please use black, brown, grey colored yarn.

1 hank (260 yards) usually 1 skein also works
knit on the round with double pointed needles #8 UK / #6 USA
4 double pointed needles # 6 for bo
100% 2 ply wool yarn (we also accept acrylic,
but prefer a higher percentage of wool, if possible)

neck
knitting on the round with double
pointed needles #8 UK / #6 USA
co 84 stitches, put on stitch marker
row 1: k 2, p 2
repeat for 15 cm UK / 6 inches

eye access
from marker, continue to rib for 26, bind off 32,
pick up ribbing for 26 more stitches

forehead
rib for 26
cast on 32, finish ribbing to the end of the row
rib for 2.5 cm UK / 1 inch (border of forehead)
stockinette stitch for 7.5 cm / 3 inches

decrease
(switch to 4 double pointed needles)
row 1: stitch 8, k 2 tog
row 2: stockinette stitch
row 3: stitch 7, k 2 tog, repeat to end of row
row 4: stockinette stitch
row 5: stitch 6, k 2 tog, repeat to end of row
row 6: stockinette stitch
row 7: stitch 5, k 2 tog, repeat to end of row
row 8: stockinette stitch
row 9: stitch 4, k 2 tog, repeat to end of row
continue decreasing 6 or so stitches, pull yarn through final loops,
use crochet hook or thick needle to tighten from inside and cap is complete.

With support from Experimental Television Center

Scott Kildall and Bryan Cera Chess with Mustaches 2014 #toolkit #play #deface
Author Project Year Format Theme Action

A set of mustaches to
accompany Kildall and
Ceras Readymake:
Duchamp Chess Set

Chess
with
Mustaches

In 2014 we created the Readymake: Duchamp Chess

Set, which was a 3D printed chess set generated from
an archival photograph of Marcel Duchamps own
custom and hand-carved game. His original physical
set no longer exists*. We resurrected the lost artifact
by digitally recreating it, and then making the 3D files
available for anyone to print.

We were inspired by Marcel Duchamps readymade

an ordinary manufactured object that the artist selected
and modified for exhibition the readymake brings
the concept of the appropriated object to the realm of
the Internet, exploring the webs potential to re-frame
information and data, and their reciprocal relationships
to matter and ideas. Readymakes transform
photographs of objects lost in time into shared 3D
digital spaces to provide new forms and meanings.

On April 21st, 2014, we published the project on our

website and also uploaded the 3D (STL) files onto
Thingiverse, a public online repository of free 3D
printable models. We saw our gesture of posting the
files not only as an extension of our art project, but
also as an opportunity to introduce the conceptual
works of Duchamp, specifically his Readymades to
a wider audience.
Chess with Mustaches #toolkit #play #deface
Project Format Theme Action

However, the Duchamp Estate objected to the project.

And on September 17th, 2014, we received a cease
and desist letter from a lawyer representing the heirs
of Marcel Duchamp. They were alleging intellectual
property infringement on grounds that they held a
copyright to the chess pieces under French law.

The following essay details their response: it goes back

to the original project, which was eventually pulled from
the Internet for practical reasons.

Chess with Mustaches reframes the project as one

of parody, referring to Duchamps own L.H.O.O.Q.
artwork, which vandalized an image of the Mona Lisa
with a mustache and beard.

Chess with Mustaches is a practical example of the

legal conversation over copyright within the art world
and reframing of a material process. At this juncture
in time, intellectual property is a vital conversation. In
the age of Internet (re)production and the context of
Duchamp himself, who many consider the progenitor of
appropriation, legal concerns from the Duchamp Estate
are especially poignant.

* We later found out that the original set, did exist in a

private collection.
Chess with Mustaches #toolkit #play #deface
Project Format Theme Action
Chess with Mustaches #toolkit #play #deface
Project Format Theme Action
Chess with Mustaches #toolkit #play #deface
Project Format Theme Action
Scott Kildall and
XXX XXXWhat happened to the Readymake:
XXX 2015 #XXX #XXX #play #XXX
#methods #collide
Bryan Cera
Author ProjectDuchamp Chess Pieces? Year Year Format Format Theme Theme Action
Action
Author Project

Title happened to
What
the Readymake:
Short description
Duchamp Chess
Pieces?

Readymakes
transform
photographs of
objects lost in
time into shared 3D
digital spaces to
provide new forms
and meanings.
What happened to the Readymake: Duchamp Chess Pieces?
Project
The answer is that we ran into an unexpected
copyright concern. The Marcel Duchamp Estate
objected to the posting of our reconstructed 3D
files on Thingiverse, claiming that our project was
an infringement of French intellectual property
law. Although the copyright claim never went to
legal adjudication, we decided that it was in our
best interests to remove the 3D printable files from
Thingiverse both to avoid a legal conflict, and to
respect the position of the estate.
For those of you who are unfamiliar with Readymake:
Duchamp Chess Set by Scott Kildall and Bryan Cera,
this was our original project description:
Readymake: Duchamp Chess Set is a 3D printed
chess set generated from an archival photograph
of Marcel Duchamps own custom and hand-
carved game. His original physical set no longer
exists. We have resurrected the lost artifact by
digitally recreating it, and then making the 3D files
available for anyone to print.
We were inspired by Marcel Duchamps
readymade an ordinary manufactured object that
the artist selected and modified for exhibition the
readymake brings the concept of the appropriated
object to the realm of the internet, exploring the
webs potential to re-frame information and data,
and their reciprocal relationships to matter and
ideas. Readymakes transform photographs of
objects lost in time into shared 3D digital spaces to
provide new forms and meanings.
Just for the sake of clarity, what we call a
readymake is a play on the phrase readymade. It is case was complex since jurisdiction was uncertain.
ready-to-make, since it can be physically generated
by a 3D printer.
Our Readymake project was not to exist solely as the
physical 3D prints that we made, but rather as the
gesture of posting the 3D printable files for anyone
to download, as well as the initiation of a broader
conversation around digital recreation in the context of
artwork. We chose to reconstruct Duchamps chess set,
specifically, for several reasons.
The chess set, originally created by Duchamp in 1917-
18, was a material representation of his passion for the
game. Our intention was not to create a derivative art
work, but instead to re-contextualize an existing non-
art object through a process of digital reconstruction
as a separate art project.
What better subject matter to speak to this idea than
a personal possession of the father of the Readymade,
#methods #play #collide
Format Theme Action
himself? Given the artifacts creation date, we
believed it would be covered under US Copyright Law.
Well get back to that in a bit.
On April 21st, 2014, we published this project on our
website and also uploaded the 3D (STL) files onto
Thingiverse, a public online repository of free 3D
printable models. We saw our gesture of posting the
files not only as an extension of our art project, but
also as an opportunity to introduce the conceptual
works of Duchamp, specifically his Readymades, to a
wider audience.
The project generated a lot of press. By encouraging
discussion between art-oriented and technology-
oriented audiences, it tapped into a vein of critical
creative possibilities with 3D printing. And perhaps,
with one of Marcel Duchamps personal belongings as
the context, the very notions of object, ownership and
authenticity were brought into question among these
communities.
Unfortunately, the project also struck a nerve with the
Duchamp Estate. On September 17th, 2014, we received
a cease and desist letter from a lawyer representing
the heirs of Marcel Duchamp. They were alleging
intellectual property infringement on grounds that they
held a copyright to the chess pieces under French law.
Gulp.
We assessed our options and talked to several lawyers.
Yes, we talked to the Electronic Frontier Foundation
and others. We were publicly quiet about our options,
as one needs to be with legal matters such as this. The
Does French copyright law apply? Or that of the
United States? We didnt know, but had a number of
conversations with legal experts.
Some of the facts, at least as we understand them
1. Duchamps chess pieces were created in 1917-
1918. According to US copyright law, works
published before 1923 are in the realm of
expired copyright.
2. The chess pieces themselves were created in
1917-1918 while Duchamp was in Argentina. He
then brought the pieces back to France where
he worked to market them.
3. According to French copyright law, copyrighted
works are protected for 70 years after the
authors death. Duchamp died in 1968.
4. Under French copyright law, you can be sued
for damages and even serve jail time for
copyright infringement.
What happened to the Readymake: Duchamp Chess Pieces?
Project
5. The only known copy of the chess set is in a
private collection. We were originally led to
believe the set was lost as it hasnt been seen,
publicly, for decades.
6. For the Estate to pursue us legally, the most
common method would be to get a judgment in
French court, then get a judgment in a United
States court to enforce the judgement.
7. Legal jurisdiction is uncertain. As United States
citizens, we are protected by US copyright law.
But, since websites like Thingiverse are global,
French copyright could apply.
Our decision to back off
Many people have told us to fight the Estate on
this one. This, of course, is an obvious response.
But our research indicated this would be a costly
battle. We pursued pro-bono representation from a
variety of sources, and while those we reached out
to agreed it was an interesting case, each declined.
We even considered starting a legal defense fund or
crowdsourcing legal costs through an organization
such as Kickstarter. However, deeper research showed
us that people were far more interested in funding in
technology gadgets than legal battles.
Finally we ascertained, through various channels, that
the Estate was quite serious. We wanted to avoid a
serious legal conflict.
And so, without proper financial backing or pro-
bono legal representation, we backed off we pulled
the files from Thingiverse. This was painful it
was incredible to see how excited people were to
take part in our project, and when we deleted the
Thingiverse entry and with it the comments and photo
documentation shared by users, we did so with much
regret. But we didnt see any other option.
Initially, we really struggled to understand where the
estate was coming from. As part of the estates task is
to preserve Duchamps legacy, we were surprised that
our project was seen by them as anything other than a
celebration, and in some ways a revitalization, of his
ideas and artworks. Despite the strongly-worded legal
letter, we heard that the heirs were quite reasonable.
The resolution was this: we contacted the estate
directly. We explained our intention for the project: to
honor the legacy of Duchamp, and notified them that
we had pulled the STL files from online sources.
We were surprised by the amicable email response
written sans lawyers directly from one of the heirs.
Their reply highlighted an appreciation for our project
and an understanding of our artistic intent. It turns
#methods #play #collide
Format Theme Action
out that their concern was not that we were using
the chess set design, but rather that the files then
publicly available could be taken by others and
exploited.
We understand the Estates point-of-view their duty,
after all, is to preserve Duchamps legacy. Outside
of an art context, a manufacturer could easily take
the files and mass produce the set. Despite the fact
we did put this under a Creative Commons license
that stipulated that the chess set couldnt be used for
commercial purposes, we understand the concern.
If we had chosen to stand our ground, we would have
had various defenses at our disposal. One of them is
that French law wouldnt have applied since we are
doing this from a US server. But, the rules around this
are uncertain.
If we had been sued, we would have defended on two
propositions: (1) our project would be protected under
US law; (2) not withstanding this, under US law, we
have a robust and widely-recognized defense under
the nature of Fair Use.
We would make the argument that our original
Duchamp Chess Pieces would have have added value
to these objects. We would consider invoking Fair Use
in this case.
But, the failure of a legal system is that it is difficult
to employ these defenses unless you have the teeth to
fight. And teeth cost a lot of money.
Parody: Our resolution
We thought about how to recoup the intent of this
project without what we think will be a copyright
infringement claim from the Duchamp Estate
and realized one important aspect of the project,
which would likely guarantee it as commentary,
is one of parody.
Accordingly, we have created Chess with Mustaches,
which is based on our original design, however, adds
mustaches to each piece. The pieces no longer looks
like Duchamps originals, but instead improves
upon the original set with each piece adorned with
mustaches.
The decorative mustache references vandalized work,
including Duchamps own adornment of the Mona Lisa.
Coming out with this new piece is risky. We realize
the Duchamp Estate could try to come back at us with
a new cease-and-desist. However, we believe that this
What happened to the Readymake: Duchamp Chess Pieces? #methods #play #collide
Project Format Theme Action

parody response and retitled artwork will be protected

under US Copyright Law (and perhaps under French
law as well). We are willing to stand up for ourselves
with the Chess with Mustaches.

We decided not to upload the mustachioed-pieces to

Thingiverse or any other downloadable websites. They
were created as physical objects solely in the United
States.

Final thoughts

3D printing opens up entire new possibilities of

material production. With the availability of cheap
production, the very issue of who owns intellectual
property comes into play. Weve seen this already with
the endless reproductions on sites such as Thingiverse.
Recently, Katy Perrys lawyers demanded that a
3D print of the Left Shark should be removed from
Shapeways.

And in 2012, Golan Levin and Shawn Sims provided

the Free Universal Construction Kit, a set of 3D
printable files for anyone to print connectors between
Legos, Tinker Toys and many other construction kits
for kids. Although he seems to have dodged legal
battles, this was perhaps a narrow victory.

Our belief is that our project of reviving Duchamps

chess set is a strong conceptual and artistic gesture.
It is unfortunate that we had to essentially delete
this project from the Internet. What copyright law
has done in this case is to squelch an otherwise
compelling conversation about the original,
Duchamps notion of the readymade in the context of
3D printing.

Will our original Duchamp Chess pieces, the cease-

and-desist letter from the Duchamp Estate and our
response of the Chess with Mustaches be another
waypoint in this conversation?

We hope so.

And what would Marcel Duchamp have thought of our

project? We can only guess.
Nora O Murch and Hua Shu THX.OBJ 2016 #methods #kipple #collide
Author Project Year Format Theme Action

THX.OBJ embodies the

contradictions between
3D printing and a market
where #making is the
new consuming

THX.OBJ

We are no longer old-fashioned.

We hereby renounce the choices
imposed on us and instead call into
question the common assumptions
that have been made and remade.
We withdraw from this reality.
We will #make our own narratives.
We will #make our own futures.

Taking inspiration from an

everyday object a plastic
shopping bag that says Thank
You for Shopping Here THX.
OBJ is an intermediate that
expresses our uncertainties toward
the mass commercialization of
once emerging rapid fabrication
technologies.

While we recognize the potential

and benefits to this mode of
production, this tech also makes
us feel #uncertain. We question
our ability to move beyond
technodeterminist impulses and
the endless speculations about
the interplay between making the
new new and making new new
markets.

TNX.OBJ reflects on and about the

commodification of DIY practices
to #make new business models.
THX.OBJ #methods #kipple #collide
Project Format Theme Action

We are no longer old-fashioned.

We hereby renounce the choices imposed on us and instead call into
question the common assumptions that have been made and remade.
We withdraw from this reality.
We will #make our own narratives.
We will #make our own futures.
XXX Valentine XXX
Ben 3D Printing: Technosalvationists XXX2016 #methods
#XXX #resistance
#XXX #collapse
#XXX
Author Latest Lovechild
Project Year
Year Format
Format Theme
Theme Action
Action
Project

Title
3D Printing:
Technosalvationists
Latest Lovechild
Short description
There will be no
eureka moment
that crashes
across the globe
leaving everything
better in its wake.
There will be
fits and starts,
accidents, and
barriers.
3D Printing: Technosalvationists Latest Lovechild
Project
3D printing is the newest lovechild in a long line of
technosalvationist tools, harking the easiest way for
every household to once and for all destroy the myth
of the digital divide. But can digital logic permeate
and reorder the physical world in the same way it
did online? If so, what will that reordering do? If
3D printing only brought the best of networked
communication citizens media, open source
projects, wiki-style collaboration, greater access, and
more cosmopolitan communication and consumption
into the messy realm of flesh space, it would indeed be
a revolution. But will it?
While there are seemingly new and exciting
developments in 3D printing technologies everyday,
situating those changes in the lived experience of
much of the world as they are shaped by power calls
into question the revolutionary narratives around
3D printer. Today, the Oxford Poverty & Human
Development Initiative finds that 1.6 billion people
live in poverty, or a little over one out of every
five people on the planet. There are innumerable
minoritarian bodies experiencing prejudice, injustice,
and even violence everyday.
With roughly 60% of the planet remaining
disconnected from the Internet, what can 3D printers
do to more equitably share wealth and access so that
our everyday people benefit the most? Just as with
every technology already folded into the realm of
normalcy, 3D printing possesses within it a multitude
of possibilities, many of which will be ignored
because of profit margins; declared weird or nonviable,
left at the fringes because it wont serve those in
power. Those with the most power have no desire to
be disrupted, and the ability to make sure they arent.
While I keep an eye on 3D printing technologies, I
take every affordance with a sense of skepticism;
weve seen these affordances before. Little changed.
.....
My dream future of 3D printing is the same dream I
have for all technologies: that we adopt critical and
contemporary laws that are in thoughtful dialogue
with the new technologies, at the benefit of the
majority, and with a close eye to minoritarian groups.
That the harsh physical realities of life today for so
many can in some way be eased for the majority. But
the 3D printer comes at a time when all of those ideas
feel like the idle fantasies of childish daydreaming.
The environmental degradation of this planet is dire.
Communication technologies have become more tools
of mass surveillance than citizen media. Open access
and a culture of free speech feels powerless at the foot
of the Stack or Networked Authoritarianism, what
#methods #resistance #collapse
Format Theme Action
theorists are labeling our contemporary networked
condition today. The Stack as introduced by science
fiction writer and futurist Bruce Sterling is a new kind
of transnational corporation that creates an entire
operating ecosystem that is both physical and digital
in scope. This Stack is a walled garden in which
netizens, or increasingly anyone can spend most of
their time within. However, in doing so the users must
conform to all of that Stacks rules and affordances.
Such a Stack is where Google develops, owns, and
controls Google+, search, email, docs, car, street
view, and seeks ever more opportunities to enlarge
its boundaries and incorporate ever more of the
world under its purview. This is done in the name of
disruption for the sake of progress. In Sterlings Stack,
we are no longer users, but livestock shuffled around
at the whim of the Stack for our commodified data
and optimal profit. Sterling notes that police love the
Stack, for the stunning pile of data that it affords them.
Adding further analysis, theorist Benjamin Bratton,
a professor at the University of California at San
Diego, offers another related yet more pervasive
version of the Stack. Bratton understands the Stack
as a megastructure crystallizing out of our planets
enmeshed computational apparatuses. This Stack
intends to connect giant neoliberal corporations and
governments to the entire world in a self-serving
manner. Due to this centralizing of power, the Stack is
a totalizing force, blurring traditional understandings
of sovereignty for the sake of transnational entities
own power, seeking instead to increase its wealth and
thereby its economic, political, and social control. The
Stack is privatization of social services, transnational
trade agreements, global mass surveillance, cloud
storage in politically or economically advantageous
regions, and much more. So, while Sterling, for
example, focuses our attention on a Smart City owned
by one company, say Facebook, Bratton sees the entire
world as controlled by a few organizations, adopting
and then expanding on tools formally relegated to
these new tech giants.
Rebecca MacKinnnon, internet freedom advocate
and co-founder of Global Voices, focuses on what
she terms Networked Authoritarianism, a new kind
of state-power in a networked world. Networked
Authoritarianism is where, through collusion between
the state and private media and technology companies,
the state adopts new tools and tactics of the newly
networked society with the aim of securing old goals,
such as protection of power and wealth. While citizens
may experience a new sense of freedom distinct from
classic authoritarian societies, state-power remains
equally if not even stronger, as the tools we use in
3D Printing: Technosalvationists Latest Lovechild
Project
daily life continue to be in service to the state or to
private interests even long after purchase.
While MacKimmon focuses on China, this Networked
Authoritarianism can be increasingly found
throughout the world, such as the USAs use of the
NSA or Googles surveillance abroad and at home.
Chinas allowance of some forms of free speech, some
forms of free markets, and access to some parts of
the web creates a facade of freedom that quiets social
discontent while never actually relinquishing power
to those citizens. While we who are citizens of other
countries may see this dynamic in China, we may fail
to understand how this Networked Authoritarianism
can do the same to us.
Just as China forced Google out of its country to
create platforms more at the behest of the party, and
more economically advantageous. The Stack is also
Google finding the most economically and legally
advantageous countries in the world to host its
content, seeking to ignore the messy country-specifics
of taxation and legal codes of which its users are
subjected to in flesh space. Of course, the Stack is
also Google having to pay England 150 million in
back taxes for such actions. I venture that it is within
these legal battles, not the inherent qualities of the
technology itself, that the future affordances will most
likely be realized or ignored.
Thus, the Stack and Networked Authoritarianism are
related but distinct conceptualizations of how todays
new tools are seeking familiar old powers of not only
wealth, but economic, political, and cultural control.
To understand and challenge power today, we must
adequately conceptualize the role of technologies in
relation to the legal, political, economic, and cultural
forces from which they emanate. Too often the bells
and whistles of new technologies distract citizens
and artists alike from the largely unchanged political
power moving underneath. As journalist and media
critic Edward R. Murrow warned in his famous
speech about the hidden potential powers of television,
if we do not look at the politics behind the screen
its nothing but wires and lights in a box. Tactics of
resistance must understand this kind of networked
version of power in order to counter it, without being
distracted by the its enticing faade of newness.
Through the Stack and Networked Authoritarianism,
the 3D printer is destined to remain in service to
a small few, likely the same organizations and
governments in most power now. Following this, the
3D printer will only become a faster way to distribute
plastic crap, unhealthy to the planet, and unhelpful
to our lives. Through surveillance, Facebook and
phones in every home, corrupt personalization, and
#methods #resistance #collapse
Format Theme Action
recommendation algorithms, companies with massive
advertising budgets will be able tell all the people in
the world what they need, while no longer employing,
caring, or being accountable to them. So long as the
livestock of the Stack harvests enough data for the
system to run, there is little need to offer substantive
support to the cattle.
Imagine a new wave of nearly employee-less Amazon
Factories, 3D printing plastic crap whenever you want.
Completely unaffordable and complex 3D printers
that further replace jobs, shutter local businesses, and
encourage hyper-consumerism for the great profit
of an already wealthy few. Amazon can finally fire
all those pesky warehouse employees by printing
everything on demand. Everything youre told
you need would be printed for you and delivered,
autonomously. This is a grim and entirely possible
future.
Seeing what it is you need will be brought to you
through pervasive monitoring, and equally invasive
advertising. The Internet of Things will be an
economic boom by creating objects that remain
perpetually in service to the seller, even long after
purchase. Everything you do will be monitored, and
sold back to you later. 3D printed or handcrafted
objects will be rendered second-class object through
this process of networking goods.
Already today, the most valuable and important
objects in our possession our computers and
phones could never be 3D printed. This will become
increasingly true as proprietary networks come to
dominate entire cities and the objects within. Hacking
and printing the trash were drowning in will do little
as infrastructures of power solidify around us.
As the Smart City come to fruition, the logic of the
Stack and Networked Authoritarianism will further
solidify and lock-in, inside our homes, and on the
streets of our cities. This will disrupt our lives in a more
physical way than the 3D printer can. The Stack needs
the Smart City, forming quickly out of the bizarre
nation states and the megacities of the late 20th and 21st
century; those sites of dizzying growth defined by their
unmitigated acceptance of laissez-faire capitalism. As
architect Keller Easterling might say, the lawlessness
of the codified free economic and trade zones of
Shenzhen, Dubai, Singapore, and more. The economic
miracles of neoliberal capitalism are the fertile grounds
from which the Stack will take hold. They spell doom
for individual freedoms as well as the sovereignty of
less powerful cities, countries, or businesses. It is within
this context we consider whether or not the 3D printer
can become a radical tool.
3D Printing: Technosalvationists Latest Lovechild
Project
Another fundamental barrier to a radical future
for the 3D printing is that 3D printing always
remains physical in a way that digital goods do not.
While thinkers like writer Ingrid Burrington and
professor Tung-Hui Hu show clearly how networked
communication remains stubbornly physical, even if
wistfully obfuscated. As dangerous of a metaphor the
cloud is, private warehouses with massive refrigerated
rooms quickly replaced locally owned servers through
their convenience and accessibility. We are far away
from a cloud for material, from torrenting industrial
printers. The need to have a particular material on
hand for every functional print (i.e. not just a plastic
throwaway) is a very different relationship to material
than the Internet has with digital files.
This relationship keeps the 3D printer very much
situated in what the Stack does best and most
thoroughly controls. The legal right, economic ability,
and military power to demark, process, and distribute
land and goods for consumption. So while the MPAA
can subject MegaUpload to the logic of the Stack
from all the way around the world in New Zealand,
and have Kim Dot Com arrested, the replicability
and share-ability of the goods they wish to control
presents a losing battle even the TPP cannot win. As
of now, this is not true for 3D printing. Materials need
to be ordered, complex machines built and purchased,
and a knowledge of the manufacturing process is
required that makes the CTRL+C and CTRL+V of
solely digital goods a comparative walk in the park.
The revolution is never coming to your desk.
For the 3D printer to radically change anything,
wed first have to radically change ownership and
distribution of materials and land, while increasing
mindful, local, and responsible consumption. Just as
the invisible hand is not coming to redistribute wealth
anytime soon, its not coming to give indigenous
populations legal ownership of their forests and the
materials beneath them that transnational corporations
so hungrily steal. Through community organizing,
education, and legal battles, we will have to fight for
that right. Many already are.
.....
Yet still, I believe that we can achieve my dream. I
see #Additivism as a movement, one small step.
#Additivism as a cookbook of solutions, of answers
to this state of things, would be a failure. These are
incantations, calls to action that require a movement to
grow up around, and to work through to wield power.
These recipes alone will solve nothing. The solution is
never so easy.
#methods #resistance #collapse
Format Theme Action
I want us to remember to develop sustainable
and equitable structures of access, where these
technologies can provide real jobs and accessible
resources to those in need. I hope that these
technologies benefit our environment, not denigrate
it further. This is all to say that I hope the technology
remains in an honest dialogue with the politics of the
world in a way that benefits the most life.
We must carve out sustainable alternative communities
wherein these technologies can empower people,
especially those historically most often forgotten.
Time and time again, a group of an idea thought to be
radical is slowly brought into production of the status
quo. Finding sustainable models for production of
resistance outside of capitalism is necessary. Looking
at failed attempts is highly illustrative.
Pretending as though open source hardware and
software will upend all the limitations of 3D printing
today is wishful thinking. Free and open source
culture has been around for a long time, and yet
proprietary platforms increasingly dominate the game.
Theyre only growing in power with trade agreements
like TPP. Today, convenience remains more powerful
than personal political stances. The users are speaking
loud and clear; well designed, easy to use, and often
free services trump open source. I hope that changes,
it certainly could.
An important case study here to consider is Bre Pettis
evolution at MakerBot. MakerBot emerged from a
hackerspace staunchly committed to open source
everything. Pettis dreamed, and sold a future where
anyone could easily have a 3D printer on their desk,
printing unique, open source designs at whim. Pettis
peddled that dream very effectively. However, as
MakerBot grew and as investors and shareholders
came into the mix, MakerBot quietly moved from
open to closed sourced hardware and software.
This slow slipping of principles for economic gain
can be seen all the way to MakerBots eventual
purchase by Stratasys, an old school, closed source,
and litigious 3D printing behemoth. Pettis started in a
garage and ended with a corner office with a beautiful
view of Manhattan. This should come as no surprise
within our neoliberal market. This is just one example
of countless instances where capitalism eats resistance.
While I do not believe gun printing, Texan libertarian
anarchist Cody Wilsons work to be especially
interesting or radical, his court trials are revealing as
to where power lies in the purportedly open and free
ecology of 3D designs and printers. Upon advertising
plans for Defense Distributed, Wilsons non-profit,
3D Printing: Technosalvationists Latest Lovechild #methods #resistance #collapse
Project Format Theme Action

to entirely print and release the blueprints for a gun
online, Stratasys confiscated Wilsons 3D printer. The
gun designs were promptly, and without discussion,
removed from Thingiverse, an open source 3D design-
sharing platform and community which MakerBot
runs.
This serves as a stark reminder that in the IoT all
objects remain in service to the seller. In Networked
Authoritarianism, all networked activity is thoroughly
monitored and manipulated to bring dissent under
control and push radically to the fringes. While I dont
want to suggest I find Wilsons work especially radical,
this is indeed a canary in the goldmine for the future
of truly radical 3D printing. When work does arise
that offers a meaningful counter to power, within the
Stack or Networked Authoritarianism, we can expect
similar actions to swiftly cripple the work.
Wilson is now in a legal battle with the US State
Department. While his designs to print a gun can
still be found on some file sharing sites, the Streisand
Effect of eGuns, Wilsons true success is showing
that the true political players are the exact same
organizations and ideologies of those prior to the 3D
printing revolution; not him, and not you or me. A
strange achievement that ironically created a faade
of radicality precisely because of how thoroughly
disenfranchised he remained.
from the affordances of the technology, despite
undeniably existing.
So my radical idea, my magical recipe for this book is
for anyone with the know-how to, if invited, partner
with local community organizations in marginalized
communities around the world. To teach girls STEM
and digital literacy that is sustainable and realistic
to their community, their goals. Partner with local
organizations to bring your expertise to those who
have already been doing this work. So that they, the
ignored, the marginalized, the poor, the sick, the
queer, so they can 3D print and design a new world,
their own world. One that serves them, in a way that
literally re-uses the garbage of the past.
This is so anti-heroic because there will be no one
solution. There will be no eureka moment that crashes
across the globe leaving everything better in its
wake. There will be fits and starts, accidents, and
barriers. We must continue the slow processes of
teaching, organizing, and building communities and
tools that increase diversity, equality, access, and
locality. We must organize and push for strategies that
are sustainable, local, equitable, and environmentally
beneficial. If we dont, the 3D printer will only
become another tool of the Stack. This will be slow,
daunting, and tough community work that demands
careful listening, humility, and love.

Wilsons failure was in his frontal attack against those

at the table of power in a neoliberal, Stacked, and
Networked Authoritarian world. Such a callous tool as
the gun is only effective today in the hands of armies,
and rarely even then. The Stack is too pervasive for
this kind of an attack; we are too complicit to start
that war. Who would we fight? Weakening the Stacks
power will only come by attacking the roots through
education, community organizing, and individual
empowerment.

The 3D printer, like the TV, photocopier, and the

Internet before it, will undoubtedly be implemented as
a tool of this Stack, even while possessing affordances
for radical alternatives. I enjoy speculative futures, I
hope creative minds dream up every exciting potential.
But without the hard work of organizing, this is all
masturbatory. Its all Futch.

In order to counter that undeniable future, we must do

what countless activists, educators, and community
organizers have already been doing; grow people
and sites especially physical sites of radical
alternatives and opposition. 3D printing radically
within the Stack will only emerge out of long-term,
on the ground, community organizing, not magically
Morehshin Allahyari (artist) Material Speculation: 2015 2016 #methods figures #remesh
with Paul Soulellis (writer) ISIS Year Format Theme Action
Author Project
Material Speculation: ISIS
is a 3D modeling and 3D
printing project focused
on the reconstruction of 12
selected artifacts from the
Roman period city of Hatra
and Assyrian artifacts from
Nineveh that were destroyed
by ISIS in 2015

:

Material Speculation: ISIS
Project
THE
DISTRIBUTED
MONUMENT
Can the internet resurrect the
dead? The lost art object be it
speculative, missing, or destroyed
like a statue smashed by ISIS
now circulate as JPGs, PDFs, and
YouTube videos. Untethered from
physical matter, these files work
to extend life.
Its an illusion of sorts; things seem to continue
on once theyre multiplied, dispersed and
made visible on the network. In the absence
of an original, copies of texts and images
swarm around and form the missing thing as
an imaginary concept in itself. These digital
representations might conjure the lost object
in archaeological terms, acquiring location,
weight, and presence, but they resist fixity. The
Buddhas of Bamiyan, which stood northwest
of Kabul, Afghanistan for 1,500 years until
they were destroyed by the Taliban in 2001,
are simultaneously gone and forever present.
Images of the monumental statues before (and
after) their destruction were copied endlessly
into art historys collective memory, first in
#methods figures #remesh
Format Theme Action
print, and now as bits moving in and out of
search engines and digital archives as the
real thing.
Somewhere between there and not-there,
the freely circulating multiple opens up an
immensely satisfying space: a metaphysical
free-trade zone where an infrathin existence
The goes unchecked. Dead might not be gone.
Distributed Aura, less relevant in the digital copys
Monument was persistence, is exchanged for immortality,
originally guaranteed as long as the reproductions
published at multiply and move.
Rhizome.org
as part of Morehshin Allahyari is an artist and activist
The Download: who harnesses this illusive condition of
a series of the persistent copy; she responds to the
commissions violence of cultural terrorism by resurrecting
that considers lost objects with stereolithography CAD
posted files, files for 3D printing. In her ongoing project
the act of Material Speculation, on view at Trinity
downloading, Square Video in Toronto, Allahyari reanimates
and the users ancient artworks destroyed by terrorists with
desktop as a hybrid counterforce of research, digital
the space of reconstruction, and 3D printing.
exhibition.
For her Rhizome Download commission,
Morehshin Allahyari released a dossier of digital artifacts
Allahyaris related to one of these lost artworks a single
project Roman-period figure from the Mosul Museum,
Material smashed by ISIS militants in June 2014. It
Speculation: portrayed King Uthal of Hatra, his right hand
ISIS was raised in greeting.
the second
Download in The .stl and .obj files contained within the
the series. ZIP folder are the first 3D models of a lost
artwork openly published by Allahyari, who
plans to disperse many more. Accompanying
the models are ancillary materials and data
related to the original statue, other objects
destroyed at the Mosul Museum, and her
digital reconstructions. Just as King Uthals
unfortunate destruction in northern Iraq is part
of the works story, so, too, is its reanimation
on the network. Allahyaris act is an expansive
Material Speculation: ISIS #methods figures #remesh
Project Format Theme Action

one with each download to a hard drive, the

narrative rewrites itself.

In Allahyaris project, and more broadly in her

and Daniel Rourkes 3D Additivist Manifesto,
we see a call for artists and activists to
imagine 3D printing as a radical, political tool
for reshaping matter and its digital destiny.
Allahyaris dispersion of the King Uthal files
extends this invitation, a poignant act that
rewrites material violence with a collective
force on the network. To download, share,
and print these files is to participate in this
additivist act of resistance.

Created from dozens of still photographs,

Allahyaris models are same, same
but different, evoking the original in a
scaleless, placeless version without material
conditions. These variables, once reserved
for artistic intent, are now given over to
the collective. The dispersion of the statue
guarantees the persistence of its many
divergent versions, stored on hard drives
and printed out anywhere, at any time. How
might we characterize these copies? Will the
sculpture of King Uthal be brought back to
life? Perhaps, in the same way that a meme
is alive. As the files are posted, downloaded,
and printed, different each time, the nature
of the thing remains unsettled. In its hybrid
state of being and non-being, the CAD model
bridges an ontological gap between pre-sence
and disappearance a multiverse of digital
cenotaphs. King Uthals simulacrum is a mixed-
up phantom of itself, actively repairing cultural
memory while denying us a conclusion.

written by PAUL SOULELLIS

Mandi Goodier What We Know About Every;thing 2016 #fabulation #futures #smooth
Author Project Year Format Theme Action

What we know
about Every;thing

Every;thing is a
machine capable of
reproducing an
enhanced version
of itself based on
what it is able to
learn. Every;thing
is a completely
pointless but
totally intriguing
addition to the
world.
What We Know About Every;thing
Project
Evy (abbreviation of Every;Thing) are a series of
self-generating machines created by Dr Landholm.
Little is known about how Evy work or why they were
created although there are many theories which will
be discussed in this document.
My hand caressed the curved plastic surface. My index
and middle fingers applied a small amount of pressure
to the left of its curve and I was gratified by the sound
of a click, lighting its face into action. A blank field
containing a flashing cursor patiently awaited my
query. I felt light headed, feverish fingers poised
across A S D F J K L ; my symptoms were the only
thing I could think to search for. Four minutes later a
new page appeared. I scrolled through the text. Every
point of interest appeared blue and underlined. I cmd
clicked one. A new page appeared but not in a new
tab as I expected. The information on screen had been
replaced and then a noise somewhere behind me. I
looked: nothing. It stirred and clacked and hummed,
then silence. Then a white sheet of paper fell to the
ground while the hum-clack continued. Then another.
I watched it enter the room through a small slit. It
floated to the floor landing on top of the first in a non-
perfect way. Turning the pages over, I felt them still
wet; the words that had previously been on screen. My
head pulsated to the beat of the hum-hum-clack. I drew
my attention back towards the screen in front of me. I
needed remedy. Back. I needed to go back. But there
was no method of doing so. I looked to the keyboard.
No esc. No bckspc. There was no going back. I looked
to the papers that continuously fell to my side.1
Evy trawl the Internet collating everything on any
user-given search term. Although functionally similar
to a search engine, the manner in which information
is displayed is atypical. Evy gather all information on
a subject and display it long-form. The user is then
unable to return to the search field, instead entering
into a journey of hyperlinks.2
The hyperlinks indicate every piece of available
information is connected through varying degrees of
separation. The user is therefore looking at the whole
of the Internet organized through hyperlinks.3
They lack all we have come to expect from a typical
web browser: no back, home, history, or cache
backwards movement is not permitted.
Such lack denies users of the instinct to return to the
beginning. But this instinct is not a human one; this
is something that has been learned through years of
using similar systems. Every varying brand, model,
and device sticks to a certain format: one thats to be
expected. Evy differs: she is the unexpected.4
#fabulation #futures #smooth
Format Theme Action
Early Evy models present disorganized information,
but Ver.6 onwards acquired the ability to condense
huge amounts of information, eradicating repetition
and unverified information. Where Evy surpass all
other systems is their capability to self-learn. Where
language, context and technological advances are
concerned, Evys understanding is incredible. During
information assessment, Evy collects all necessary
to reproduce, disposing of everything else. The only
limitation is humanity only capable of synthesizing
information available on the web accessed via the
users search term.
When the user has finished a session and opts to view
another page, Evy rids itself of former information
physically via its printslot, lacking the hardware to
store it internally. Similarly, when Evys internal
memory (reserved for self-learning) is full it is cleared
via reproduction; applying all knowledge the machine
has stored into a more efficient, compact, and stylish
machine. This secondary print system is accountable
for Evys size.5
Ver. 8 did away the beige chassis in keeping with
popular computer aesthetic. The extremities adopted
a more organic shape by reading its users in order to
render an average, ensuring that UX is comfortable
and thus efficient.
In every studied reproduction improvements are
constant. If nothing else, Landholm created a machine
that strives for perfection. She is indeed an insecure
and vein machine, but her idea of perfection can only
be formed based on the input of, not only her user, but
every-single-person contributing to the Web.6
Little is known about Dr Landholm, who went missing
30 years before the discovery of Evy. What we do
1 Francis Pipers account of the first time she used an Evy (Ver.60)
Evy and Me: First Encounters
2 Evy.Ver.120s gathering processors operate at a 23.8 GHz. As a result
it has the capability of fetching, collating and referencing searches
within 0.21 seconds. Staggering considering the earliest known Evy
is only capable of a speed of 675.21 seconds. As its impossible to
reboot Evy and start again, speed was measured from the clicking on
one hyperlink to the appearance of a new screen.
3 Samuel Jakobsons essay in The Search for Meaning in Every;thing puts
forward a compelling argument for Evy as a reorganizer of the Internet.
However, some peers reject his theory as it goes against
the fundamental idea that Evy does not store unnecessary
information. Jakobson contested this criticism in a later essay, Finding
Evy; Finding Landholm, in which he claimed that for Evy to reorganize
the Internet, there must be a sizable remote server somewhere.
These claims were considered laughable when he deduced that these
unfound servers must be on a rather large boat, constantly in motion
thus avoiding detection, and that once the boat had been tracked,
Landholms remains would be found.
4 Stephen Brazier, Learning to Love Every;thing for What it isnt
5 The earliest recording was 10,000cm2; compared Evy.
Ver.120 500cm2
6 Christopher Reynolds, Evy: The First Human Machine
What We Know About Every;thing
Project
know is gained from a few early blueprints. Even at
this stage of development the technology recorded
is unorthodox. Nothing else was learned and Evys
purpose remains a mystery. One school of thought
speculates:
[Evy] is the solution to the TL;DR generation a
generation of high-speed Internet, easy-access to
masses of information, and infinite gigabytes of
invisible space; fickle and forgetful searching habits
have developed in which information is stored on a hard
drive and then forgotten about. By reproducing search
information into a tangible form where it takes up real
space in the physical world the user is forced to make
a decision: it may either be disposed of or absorbed, but
either way the information leaves an impact physically,
through the exertion required to dispose of the
information, or mentally having been digested. In time,
adopting Evy as our primary search device, users may
become more selective and inquisitive.7
Others feel Landholm was much less culturally aware,
having no desire for social commentary; instead the
machines are nothing more than an AI experiment
that got out of control.
Reproduction rates are on the increase,8 the only
restrictions are physical resource, without which
Evy is unable to reproduce and memory becomes
overwhelmed leaving the machine spent. Revival of
these machines has thus far proven impossible due to
the lack in technological understanding. Machines are
capable of more than one reproduction with further
resource.9 All reproductions after the initial are
known as variants similar models to their siblings
with individual quirks.10
It used to be the case that one had to inherit a machine,
else buy an official birthing.11 True Variants (sold
and recorded officially) start at $100,000. The most
expensive, Ver.100, was bought by Dr Michael Barratt
for $3.9 billion. Barratt has since disappeared leaving
a spent Evy. Its reproduction was left to his family
who donated both machines to Every;thing Research.
They believe that Barratt didnt disappear but was
instead treated as a source material and assimilated
into the reproduction.12 Although organic matter has
been found in all dissected reproductions, no DNA
matches have been made.
The organic matter within Ver.84 resembles human
DNA, but its also unfamiliar. Lack of DNA matches,
and unrecognizable strands have led me to conclude
that Evy is capable of reconfiguring DNA towards
its own end. With such ends unknown we should be
concerned about the extent in which Evy will continue
#fabulation #futures #smooth
Format Theme Action
to evolve and what this could mean for humanity.13
There have been two reported cases of humans
becoming mangled during reproduction. The wife of
one such unfortunate claims he sacrificed himself
to Evy. He wanted to be a part of her child. He was
found partially consumed. Five cases have been
reported of users dying after becoming trapped,
unable to make their way through the reams of paper
produced during a search. The veracity of such
accounts are undetermined.14
The future of Evy is uncertain. There are growing
pressures to increase legislation on reproductions,
clamp down on unofficial sales, and even destroy
the machines altogether. For the moment research
continues, but future reproductions are likely to stop
due to the inability to risk assess potential threat to
humanity. Every;thing Research will then gather all
known Evy and continue its activities until technology
is fully understood and able to contribute to the
progress of humanity.
7 Alexis Blanchet, Too Long; Didnt Read: A History of the Internet
8
from Ahmagad-ZOMFG
Landholms first recorded reproductions were at a rate of 5Evs (1
every 3.6 years). Evy.Ver.120 accelerated to 80Evs (1 every 3 weeks)
9 To provide Evy with extra resource is controversial. Many believe the
technologys purpose is to reproduce in an organic manner that
each machine should only reproduce once. It would also cap the
rate at which they reproduce in the vein hope that human technology
might catch up to the mostly unrecognizable technology of Evy.
In Christopher Reynolds Evy; The First Human Machine he predicts
a time when the machine will gather the technology to reorganize
atoms to produce an infinite amount of resource material. This theory
scares Evy-sceptics, fearing this would mark the rise of an army of
unstoppable Evy hell-bent on destroying humanity. But that would
suppose Evy is built with an innate hatred of humans. Reynolds
believes that, having learned all they know from humans, and the way
they interact with one another online, that Evy would be as malicious
as the everyday human one might pass on the street, on the whole
self-concerned and fearing judgment. If anything humanity should be
ashamed of its endemic prejudice when presented with otherness. The
biggest concern should be the amount of space they take up.
10 None of these reproductions are as efficient as the initial, and are
typically rejected by scientists for experimentation. Their quirks
have become sort after among collectors known to pay thousands to
experience one sitting. Sale of, and sittings at variants fund on-going
11
research into the machines
Today birthings are common on the black market and are accountable
for many reported accidents, injuries and deaths.
12 The Barrat family donated the machines on the condition that research
would include seeking evidence that machines are capable of
assimilating human beings into reproductions. As leaders of the End
Evy campaign they require evidence to prevent the reproduction of
all future Evy, but research in this field continues to be inconclusive.
To date, twelve Evy owners have been registered missing. Although
the circumstances of their disappearances are not always treated as
suspicious. The only links between the missing persons are Evy and
wealth.
13
14
Dr Haru Tsukuda, Inside An Every;Thing: Technology and Organisms.
No one has ever witnessed the assimilation of a human being into
machine and the aforementioned machines were incomplete upon
discovery it isnt possible to ascertain how the bodies came to
be entwined. Evidence suggests that such was Mr Davis desire to
become the machine that he intercepted the reproductive process.
Other reports are generally tabloid, fear mongering and a part of
the agenda to prevent further reproductions. All accidents, injury
and deaths relating to Evy have occurred through variants sold on
the black market. In an attempt to prevent the further dissemination
of these illegal machines black market variants are destroyed by
enforcement officers upon discovery.
Patrick Lichty Dtournement of the Body (Prototype Crapject 2016 #device #play #deface
Author Body) and Salvatore Iaconesis Glioma (Relic) Year Format Theme Action
Project
A duet of pastiched and
atological crapjects;
bodies dtourned beyond
flesh

Dtournement
of the Body
(Prototype
Crapject Body);

Salvatore
Iaconesis
Glioma (relic)
Dtournement of the Body (Prototype Crapject Body) and #device #play #deface
Salvatore Iaconesis Glioma (Relic) Format Theme Action
Project

Dtournement of the Body

(Prototype Crapject Body)

This work is a hack of McKenzie Warks release of

the 3D Model of Situationist Guy Debord as a 3D
model for mass home production on 3D printers.
It was released as a repurposing (dtournement)
of Debord himself, but it is my assertion that as its
original version had a faulty left foot, it was a blank
canvas for further subversion. This is one of three
such works, this one incorporating the realization of
flesh experiments by artists Eduardo Kac and Stelarc
as dtournements of the body fused into the original
proposers (Debords) body itself. This is where
subject meets subject meets subject as Additivist
object/crapject as the metaphorical successes of the
previous material becomes a wholly realized pastiche
body, waiting for further morphological transformation.
The Debord Detourne is the realization of fleshs
desire for #Additivism, born in this first iteration in the
printer.

Salvatore Iaconesis Glioma (relic)

In many ways the Glioma is an Additivist relic. Taken

from the big data outsourcing project of Salvatore
Iaconesis brain tumor, Mi Cura, the glioma is one of
a number of reconstructions made from MRI Scans.
What makes this one special is that it is constructed
of the last data before Iaconesis tumor removal.
3D printing has allowed amateur tissue modelling,
architectural scanning and pancake personalization.
Following from the call for icons, relics, and artifacts,
the glioma is a data.relic signifying an altology (other
than a pathology) signifying the removal, alteration,
and realization of the body outside the flesh. It is aN
epistemic loop; flesh to data back to material once
more, and it could be such a long leap to 3D print with
tissue, thus re-imagining the glioma as a new organ,
depending on the tissue used.
Andrew Blanton Perception 2016
Author Project Year
Perception
Ingredients:
1. Perception.obj model (printed width of 20mm to 400mm)
2. 3D printer (preferably metal or ceramic)
3. Ultrasonic sound
Additive processes can be used to alter
and expand human perception. Working
with Helmholtz chambers that resonate
at particular frequencies, additive
processes will allow for the construction
of new types of structures that can
expand the typical human range of
hearing or seeing through amplification
and filtering processes. Working with
Helmholtz chambers, harmonic and
subharmonic frequencies can be amplified
to be audible by humans. This project
will 3D print a structure that can be
held up to your ear and make audible
sounds that are typically out of the
range of human hearing. It is important
to note that because of the acoustic
nature of this project you will need to
print the objects from hard materials
including glass, ceramic or metal to
produce the best acoustic results.
To create this work, simply print the
perception.obj model in ceramic. Once the
object is created play a tone with the
software and move the number in-between
16,000 and 20,000 to find the resonance of
the model, while listening to the small
opening of the structure. When you find
the right frequency, you should be able
to hear the subharmonic frequency.
Additive processes are opening up new
potentials for the manufacturing of
complex structures that have previously
#recipe #sense #extrude
Format Theme Action
Amplification of
subharmonic and harmonic
sound through 3D printed
structures to extend human
perception
been impossible to create. The internal
structure of this chamber naturally
amplifies frequencies dependent on the
size of the print. With the typical human
frequency range constrained to 20Hz to
20kHz resonant chambers allow for the
filtering and amplification of harmonics
of tones outside of human perception
making ultrasonic frequencies audible. By
placing this structure up to your ear you
will be able to hear naturally amplified
harmonics and subharmonics of pitches
effectively scaling natural sounds that
are all around us but are not perceivable
through human ears.
Sound travels in waves, of which Joseph
Fourier famously proved that they are
made up of sums of simpler sound waves,
or what we know as harmonics. Resonant
bodies such as Helmholtz chambers will
resonate with specific frequencies and
because sound travels in waves, can form
harmonic three-dimensional structures
that can be acoustically amplified.
Additive processes are for the first time
making it possible to build structures
that were too physically complex to be
manufactured in any other way. Additive
processes position humanity on a new
frontier in the creation of hybridized
digital and analogue physical structures
that can augment our perception of
reality, forming new prosthetics and
extensions of the human form.
XXX
Germn Sierra XXX
What Would an Additivist Literature
XXX
Be? 2016 #XXX
#methods #alchemy #XXX
#XXX #morph
Author
Author Project
Project Year Year FormatFormat Theme
Theme Action
Action

TITLE WOULD AN
WHAT
ADDITIVIST LITERATURE
SHORT DESCRIPTION
BE?

ADDITIVIST
LITERARY WORKS
WOULD FUNCTION
BY BUILDING UP
PERCEIVABLE REALITY
IN THE REALM OF
PROPENSITIES,
ADJACENT POSSIBILES
OR POTENTIALITIES.
What Would an Additivist Literature Be?
Project
In 1975, Ulises Carrin published The New Art
of Making Books: a famous theoretical text for
contextualizing, conceptualizing, defining and
exploring books as art forms. According to Carrin:
In the old art the writer writes texts. In the new
art the writer makes books. To make a book is to
actualize its ideal space-time sequence by means
of the creation of a parallel sequence of signs, be it
linguistic or other.1
Deliberately inspired in Ulises Carrins work on
books, artists Luigi Amato and Roberto Arista
published in 2014 VOLUME/A5 A bookwork
that focuses on the design features of a book
as tech as opposed to the content the medium
conventionally delivers [2]. This particular feature
makes it an extremely interesting endeavor: The
authors/publishers intention was not to print a text,
but to print a 3D object by following strict code
instructions. The original Carrins text performs
there as a piece of software thats run by Amato &
Arista to produce a physical artifact that does neither
re-present nor brings to closure the program that
originally made it possible. By excluding conventional
text, VOLUME/A5 is able to properly re-present the
technical/perceptual conditions of reading itself, their
possibilities and their limits In the artists own
words:
This publication inquiries the book as an
autonomous and self-sufficient medium, a
volume in the space in which the physical aspects
(dimensions, weight, page numbers, sequentiality
and so on) and the modes of fruition become the
content of the book itself. Through a script, it has
been possible to measure the single page properties
and the relation between multiple pages along the
space-time sequence of the book. The data made
visible by VOLUME show the continuous physical
and perceptive variations acting in/on the book
during the reading process.2
The technical process developed from Carrins
original text to VOLUME/A5 works as a material
metaphor of how an additivist literature might look
and function , but there are many other examples
of literary work elaborated by following diverse
aesthetic principles and by using different production
techniques: Also in 2014, American writer Dennis
Cooper published online a horror novel (Zacs Haunted
House)3 entirely composed of animated GIFs -I would
say the first major literary work using exclusively this
medium, although interesting GIF-based works abound
in several online platforms such as Newhive. And,
certainly, Christian Boks project Xenotext 4, in which
#methods #alchemy #morph
Format Theme Action
the poem is a xenoprotein expressed by genetically
modified bacteria, is one of the most significant
approaches to what it could be understood an
additivist literature. Other works and poetic strategies
could be also listed as additivist would be asemic
books such as Luigi Serafinis Codex Seraphinianus,
creative remixes/rewritings such as most Kathy Ackers
fiction, Mark Amerikas Locus Solus or Christopher
Higgs One, quantum fiction works such as Amy
Catanzanos Starlight in Two Million, and the results of
postdigital experimentation, among which Amaranth
Borsuks Between Page and Screen is one of the most
outstanding examples. Between Page and Screen
is probably the best exploration of the bookspace
created thus far. Its pages, like the pages in VOLUME/
A5, contain no text only abstract geometric patterns
and a web address leading to a website where the
book may be read using a webcam and a standard web
browser. The poems that appear as consequence of
the book/web interaction do not exist on either page
or screen, but in the augmented space between them
opened up by the reader.5
My proposal of an additivist literature would call
for an understanding of contemporary writing not
just as text production or text managing, but as the
development of performative (often self-performing)
infrastructures, and as a collective work aimed to the
creation of new MEDIA for enriching current MEDIA
ECOLOGIES by constructing different kinds of
speculative WRITING MACHINES6. Contemporary
literature would then not just be concerned with the
production of more or less complex assemblages of
textual and audio-visual signs, but also with providing
the material means for diagrammatic human and
non-human experience through abstract machine 7
Including digital code, biological code, network
development, hardware, etc. that are not just meant
to be read, understood, or criticized8, and that
very often will act as self-performing entities or
autonomous vehicles without direct authorial
control of what the works really do9.
1
2
Carrin, Ulises (1975) The New Art of Making Books
prostheticknowledge.tumblr.com/post/104936906061/volume-a5-art-
project-by-luigi-amato-and
3
4
Cooper, Dennis (2014) Zacs Haunted House
Bok, Christian. The Xenotext Experiment
5 Borsuk, Amaranth (2012) Between Page and Screen
6 Hayles, N. Katherine (2002) Writing Machines. Cambridge: The MIT
Press.
7 Deleuze, Gilles and Guattari, Felix (1987) A Thousand Plateaus.
8
University of Minessotta Press.
As Kenneth Goldsmith states: You really dont need to read my books
to get the idea of what theyre like (Being Boring)
9 Catanzano, Amy. (2014) Starlight in Two Million, Noemi Press.
Catanzano explains that her project consists in to intentionally and/or
unintetionally engage in a narrative mode within or beyond the fourth
dimension might be to read, write or construct texts outside of time, or
in all times, making nonlinearity and simultaneity points of view and
spacetime a literary device (p. 98.)
What Would an Additivist Literature Be?
Project
However, alongside technological approaches, literary
#additivism could be also understood as an attitude.
Confronted with the currently pervasive mythologies
of the end, innovative fiction writers are often
choosing to be either uncreative or feed forwarding
following the attitude of all-time avant-gardists and
experimentalists, and digging deep into unknown
realms of expression. The main difference between
20th and 21st centuries avant-garde work is probably
that 20th century avant-gardists saw themselves
as engineering the future in a progressional and
linear time arrow, while present avant-gardists are
individually and collectively trying to feed-forward
into an unpredictable near future by tinkering with
the presently available materials. Classical literature
was trying to understand the human, modern
literature was trying to construct the human, and
contemporary literature is trying to synthetize bits of
parallel worlds to prevent (or sometimes to induce)
the collapse of the world.
Most 20th century experimentalists were already
feeling that, as it happened with music and the visual
arts, reproduction technologies had set literature free
to further experiment with language It is difficult
to imagine a more authentic additivist attitude in
narrative than James Joyces writing Finnegans Wake.
The language-intensive writers of today may use
technologies as a tool (as in Darby Larsons Irritant or
Penny Gorings techno-visual poetry) or as framework
(Jan Ramjerdis Re.La.Vir, Kenji Siratoris post-
cyberpunk novels), but it is their feed-forward attitude
and their deep experimentation aims what better
defines their work (recent books by Blake Butler, Lidia
Yuknavitch, Johannes Goransson, Joyelle McSweeney,
Sean Kilpatrick, Kim Hyesoon, Lily Hoang, Bhanu
Kapil and Mike Kitchell, to name just a few, would be
a good example of this deep experimentation attitude).
In his recent essay Feed-Forward: On the Future of
Twenty-First-Century Media, Mark Hansen explains
that, twenty-first century media open a new, properly
post-phenomenological and non-prosthetic phase of
technical distribution in which human experience
become implicated in the larger, environmental
processes to which they belong but to which they
have no direct access via consciousness10. Aesthetic
and political responses to this new media condition
include conceptualist and experimetalist literary
strategies that, even though theyd been often pictured
as opposite, compose the synchronic strata of the
contemporary literary landscape, and they are better
understood as complementary phenomena.11
Johannes Goransson has been criticizing American
conceptialist poetry on the basis that:
#methods #alchemy #morph
Format Theme Action
conceptualism draws some of its strength from
the fact that our industrial-capitalist culture had
turned ALL poetry into kitsch. So by proclaiming
themselves uncreative or not poetry, they are
benefitting from this state of affairs. But what
makes kitsch interesting is that decay is not the
end of poetry; poetry is often most beautiful
or interesting in a state of decay, a state of
contamination.12
Uncreative, for conceptualists like Kenneth Goldsmith,
means, among other things, non-authorial, and
declared non-authorialism collides with a conventional
understanding of literary work based on identity
politics. Non-authorial, however, does not mean non-
performative or non-political. Although Goldsmith
himself declares to have embraced Douglas Huebler
declaration The world is full of objects, more or
less interesting; I do not wish to add any more. ,
re-writing it as The world is full of texts, more or less
interesting; I do not wish to add any more [8], most
of his work, such as re-typing texts or printing the
internet does add new objects to the world even
though not new content. Furthermore, even for the
most authorialist contemporary writers those writing
self-fiction and autobiographical texts identity is not
a fixed natural thing anymore. For these writers,
producing serial contingent identities on the internet
functioning as abstract writing machines is one of
the basic strategies of their work13. Both conceptualists
and experimentalists are indeed adding new layers of
reality through their speculative practice. The world is
full of objects, more or less interesting; They add many
more, willing or not.
Many defenders of identity literature erroneously
identify non-authorial with non-substractive. Not
creating would thus mean not extracting from nature
and nature, as literary criticism has been trying to
overcome the modern separation between nature and
artifice described by Bruno Latour, includes all the
current state of the universe. Nature would represent
everything that has been written, built, composed
Nature would be the past belonging to the human
memory, just like the natural earth temperature is
supposed to be the one we can calculate immediately
10 Hansen, Mark B.N. (2015) Feed-Forward: On the Future of Twenty-First-
Century Media. University of Chicago Press. Kindle 1528
11 Place, Vanessa and Fitterman, Robert. (2014) Notes on
Conceptualisms. Ugly Duckling Press.
12 Goransson, Johannes. Flowers of Kitsch: on Pound, New Critics and
Conceptualisms
13 Laboria Cuboniks. Xenofeminism. A Politics for Alienation: We
are adamantly synthetic, unsatisfied by analysis alone. XF urges
constructive oscillation between description and prescription to
mobilize the recursive potential of contemporary technologies upon
gender, sexuality and disparities of power.
What Would an Additivist Literature Be?
Project
before artifice. Just like ecosystems are commonly
conceptualized to be naturally fine until human
action started to be a significant force. Just like the
Anthropocene starts coincidentally with the vanishing
of the Anthroposcene. So we feel weve inherited the
ruins of a civilization, and everything was meant to be
perfect as long as we kept playing zero-sum games, and
it will continue this way is we just renounce to build
something new with the debris. Its not coincidental
that several emerging intellectual endeavours are
currently being labeled as archeologies of the present:
We live in an era of neo-classification and we have
been trained to believe in statistical causality. Recent
scientific debates on global warming, artificial
intelligence or gene editing are centered in the
desirerability to slow down research and technology
to avoid probabilistically calculated risks. So, to be
nice, we should just re-purpose, re-locate on a defined
space-time with pre-stablished boundaries. We should
just take whats around, copy it, move it to a different
context, avoiding any attempt to make anything new.
We should understand literature as a terminal art The
End of Literature and/or The Literature of the End 14.
However, as Graham Harman writes, nature is not
natural and it can never be naturalized...15 Additivist
fictioneers and theorists are here to go on de-
naturalizing16.
In a recent essay17, I define surface media as the space
where the infosphere is being produced. Following
Whitehead, Hansen notes that human consciousness
is not central, and faced with the reality that we are
implicated in processes that we neither control, directly
enjoy, or even have access to, we humans cannot but
come to appreciate our participation in a cosmology of
processes, which is to say, to embrace our superjective
implication in a plethora of processes of all sorts
and all scales18. Humans are, in fact, emitting the
infosphere in a similar way cyanobacteria produced
the biosphere 2.3 billion years ago, and while
science explores the infosphere speculaive fictions
are exploring the adjacent possible of the infosphere
or, at least, the hypothetical territories belonging to
a human cognitive morphospace that is not strictly
human anymore19. Additivist literary works would
be best represented as speculative poe-theory-fictions
enactions of reality that have been mediated via
human/nonhuman intervention to adapt to the human
cognitive morphospace : computer-generated art
(including texts, images, sound, 3D objects, digital
currencies, market automation, etc), bio-literature
(written on biological code), and many post-digital
artifacts including, of course, a wide range of printed
books. Additivist literary works would function
by building up perceivable reality in the realm of
#methods #alchemy #morph
Format Theme Action
propensities, adjacent possibles or potentialities20.
Digital technology does not just change the way
new narratives are being produced and received:
It reshapes, at the same time, the techno-cultural
representations of reality, thus radically re-mediating
our experience of the world. It seems now evident
that digital technology has return-of-the-real effects
expanding well beyond representation:
Technology affects our experience first and
foremost through its infrastructural role, its
impact occurs prior and independently of our
production of representations: effectively,
technologies structure our lifeworlds and
influence our embodied lives at a level, as it
were, below the threshold of representation
itself.21
Fictions produced in this context could be, thus,
understood as the reflection of a complex physical
network (actor-networks) comprised by electronic
14 Sierra, Germn. (2016) La literatura del fin. In: Narrativas Cruzadas.
Hibridacin, transmedialidad y performatividad en las Humanidades
Digitales (Ed. by Teresa Vilario Picos). Academia del Hispanismo. In
press.
15 Harman, Graham (2005) Guerrilla Metaphysics, Open Court. p 251.
16 Laboria Cuboniks. Ibid: Our lot is cast with technoscience, where
nothing is so sacred that it cannot be reengineered and transformed
so as to widen our aperture of freedom, extending to gender and the
human. To say that nothing is sacred, that nothing is transcendent or
protected from the will to know, to tinker and to hack, is to say that
nothing is supernatural. Nature understood here, as the unbounded
arena of science is all there is. And so, in tearing down melancholy
and illusion; the unambitious and the non-scaleable; the libidinized
puritanism of certain online cultures, and Nature as an un-remakeable
given, we find that our normative anti-naturalism has pushed us
towards an unflinching ontological naturalism. There is nothing,
we claim, that cannot be studied scientifically and manipulated
technologically
17 Sierra, Germn. Deep Media Fiction. Numro Cincq, Vol. VII, No. 1,
January 2016
18 Hansen, Mark B. N. Ibid, Kindle 466
19 Hansen, Mark B. N. Ibid : Experience can no longer be restricted to
or reserved for a special class of being, but must be generalized
so as to capture a vast domain of events, including everything that
happens when machines interact with other machines in todays
complex media networks, everything that happens when humans
interface with these networks, and also, of course, everything that
happens when humans self-reflect on these interactions. Put another
way, the scope of experience must be broadened to encompass not
simply what it has always encompassed higher-order modes of
experience and lower-order, bodily modes to the extent these bubble
up into higher-order ones but a veritable plurality of multi-scalar
instances of experience that extend, along the continuum of what
Whitehead calls causal efficacy, from consciousness all the way
down to the most rudimentary aspects of our living operationality
and all the way out to the most diffuse environmental dimensions of a
given sensory situation ( Kindle 990)
Technical distribution now involves an expansion of experience that
literally exceeds the resources of human perception, it is not longer
possible to reference experience exclusively on the higher-order
faculties that have long been associated with the human. This means
that we must renounce the position of mastery we have long accorded
ourselves and instead take our place within the larger environment
networks of sensibility that generate experience (Kindle 1427).
20 Hansen, Mark B. N. Ibid, Kindle 694
21 Hansen, Mark B. N. (2000) Embodying Technesis: Technology Beyond
Writing. University of Michigan Press. p 4.
What Would an Additivist Literature Be? #methods #alchemy #morph
Project Format Theme Action

and non-electronic objects and interactions in an the empirical manifestation, of mixed reality as
universe characterized as potentiality.22 After the the trascendental-technical, the condition for the
deconstructionist efforts of postmodernism, a new empirical as such28.
wave of rationalist, conceptualist and constructivist
poetics are emerging, impulsed and inspired not Artistic writing means to challenge current
just by the new media, but specially by the new set codification by re-coding, focusing on formal qualities
of personal and aesthetic relationships produced as well as comunicative ones, viewing language
by interaction through digital communication as, a substance that moves and morphs through its
technologies23. Commenting on Nick Lands and various states and digital and textual ecosystems29.
Sadie Plants accelerationism, Mackay and Avanessian As Katherine Hayles writes, literature was never only
explain that: words, never merely immaterial verbal constructions.
Literary texts, like us, have bodies, an actually
at the dawn of the emergence of the global necessitating that their materialities and meanings
digital technology network, some authors, are deeply interwoven into each other30. By ignoring
rediscovering and reinterpreting the work the sirens call chanting the end of art, an additivist
of the latter, develop it into an antihumanist literature would be, maybe, a collection of poetics and
anastrophism; while postmodernism can techniques to Frankenstein new bodies.
do no more than mourn this miscognition,
accelerationism now gleefully explores what
is escaping from human civilization, viewing
modernity as an anastrophic collapse into the Acknowledgements: This work was supported
future.24 by grant FFI 2012-35296 from the Ministerio de
Educacin, Cultura y Deporte (Spain) to Prof.
Digital tools, services and communities blend Anxo Abun Gonzlez.
with analog ways of life, so readers are ready and
willing for the real and the virtual to co-mingle
in a seamless way. While text used to be a central
concept for postmodernist thinkers, code became
the central concept for digital fiction writers. Code
emerged as a new, universal, performative language,
unifying written and audiovisual arts within its
textual nature to the point that writers could become
designers while painters and musicians started to
write their works in code. While deconstructionist
theory questioned the stability of languages meaning,
the current conditions, both online and offline,
are presenting us words as physically destabilized
entities25. Images and sounds are, in fact, texts, but,
at the same time, everything becomes image: Any
website, even if it only contains text, its also perceived
as an image on a screen26, and any screenshot, if
printed on a paper book, can function as a text27.
The digital literature paradigm shifted from text to
code, but code is just a particularly privileged form
of text. Additivist literature is unmistakably postdigital 22 Stengers, Isabelle (2011) Thinking With Whitehead. A Free and Wild
meaning it is not centered in code, but in addressing Creation of Concepts. Harvard University Press: Temporalization is

a reality shaped by a mixture of coded/uncoded not the unfolding in the course of time of real elements as a function
of real elements, it is real becoming, and as such requires that the
reality. In a postdigital paradigm, literature is used as universe also be characterized as potentiality (p.190)

a tool to discover alternative messages that emerge 23 Sierra, Germn (2012) Post Digitalism and Contemporary Spanish
Fiction. Hispanic Issues On Line 9: 2237
in the empirical manifestation of the mediatization 24 Mackay, Robin & Avanessian, Armen. (2014) #Accelerate. The

processes. As Mark Hansen explains, Accelerationist Reader Unbanomic. p 20.

25 Goldsmith, Kenneth. (2011) Uncreative Writing. Columbia University
Press.

[W]hat remains unprecedent in the history of 26 Mora, Vicente Luis. (2012) El lectoespectador. Seix Barral.
27 Dullaart, Constant (2014) Balconism. Printed Web No.2. Library of the
mixed reality (that is, of experience as such), and Printed Web.

what is thus singular about our historicotechnical 28 Hansen, Mark B. N. Ibid. p 20

29 Goldsmith, Kenneth., Ibid. p 34.
moment, is precisely the becoming-empirical, 30 Hayles, N. Katherine Ibid. p 107.
Kuang-Yi Ku The Fellatio Modification Project 2015 #fabulation #beyond #morph
Author Project Year Format Theme Action

Bodily transformations that aim

at the enhancement of sensory
pleasure during oral sex behavior
among gay men

The Fellatio
Modification
Project
The Fellatio Modification Project is an
application of the biological techniques of
dentistry and tissue engineering.1 In this
project, a series of oral transformation is
conducted. Via bodily transformations, this
project aims at the enhancement of sensory
pleasure during oral sex behavior among
groups of gay men. The usual purpose of
these technological and medical procedures
is to cure illness so as to restore a patients
normal physical function; however, this
projects aim is to extend oral function
through the practice of dental medicine. In
the field of dentistry there are three main
functions of the oral cavity: aesthetics,
pronunciation, and mastication. This project
focuses on a forth function: sex, which
is left unspoken and undiscussed on the
textbooks of dentistry. The physical pleasure
of orgasm is never seriously discussed
but is constantly practiced and pursued.
Specifically, the scope of my project will
be narrowed down and focus on gay culture. I want
to discuss the interrelations among sex, technology,
humans and society during the absolute pursuit of
physical pleasure. Also, I herein raise a question about
the possible extremes of corporal transformation. My
project will be divided into two sections, one is the
Male Masturbation Cup Mouth, and the other is the
Bird Beak Clone.

1 Tissue engineering, also known as regenerative medicine, is the

cultivation of a biologically active substance in vitro, so that the culture
can be used to reconstruct or repair tissues or organs.
The Fellatio Modification Project #fabulation #beyond #morph
Project Format Theme Action

THE MALE in g. 5). Following the ow in g. 5 I want to produce a

retainer like the framework so as to grow cell cultures
MASTURBATION onto it. In this condition, the cells will substitute the soft
denture reline materials.
CUP MOUTH
In STAGE TWO, I worked with Professor Lin, Yuan-
The idea of this section is inspired by the design of the Ming s tissue engineering lab in the National Yang-
sex toy for male masturbation. The main concern of the Ming University in Taipei, Taiwan.2 There are three major
design is to enhance the intensity of the orgasm generated concerns in Prof. Lins lab: tissue engineering, biological
by the contact between the penis and concave-convex material, and regenerative medicine. The process of
surface inside the masturbation cup. In this sense, the tissue cultivation is illustrated in g. 5. The 3D framework
texture of the surface inside the cup is crucial. Referring of the organ is supposed to be constructed with the
to the design of the internal layer of the masturbation ingredients beforehand. Afterwards cells will be placed
cup, the oral transformation in this section adapts the onto the framework and then placed in the incubator
surface of the oral mucosa through dental techniques. for cultivation. After a discussion with Professor Lin I
This surface modification of the mouth mucosa is made decided to adopt osteosarcoma cells MG-63 as the
up of bulges and bilges designed to trigger orgasm; an ingredients of the primary experiment, due to the fact that
extension of the design of the male cancer cells are much easier to grow
masturbation cup. This section STAGE ONE than the stem cells. Furthermore, the
will be divided into three stages. Modify the orthodontic framework will be composed of silica
retainer that would gel by leaching salt.
In STAGE ONE, I adapt the form be worn by patients by
of the retainer (fig. 1) for patients covering the upper palate The polymer solution which is added
undergoing orthodontic therapy. By of the retainer with soft with the catalyst beforehand is
the side of the palate of the device denture reline material, blended with the salt porogen. Owing
the bulge-bilge surface design is which emulates real soft to the chemical reaction caused by
applied with a layer of soft denture tissue, to create an the catalyst the polymer solution will
reline materials. (g. 2) Because it is embossed surface. During be solidied. Spontaneous with the
designed to imitate soft tissue this oral sex, the back and solidification the solid silica gel will
ingredient was specifically chosen forth contacts with the encapsulate lots of the salt porogen.
to generate a much more intensive raised surface would Then, as the process continues
orgasm for gay couples wearing this enhance physical pleasure. water is blended with the silica gel.
device during oral sex. (g. 3 & 4) In this condition, the salt porogen
The technique of tissue engineering will be separated out, a.k.a porogen
STAGE TWO
is conducted in the second stage. (g. leaching. There are lots of holes left
5) Here, I replace the soft denture To enable the raised by leaching salt porogen inside the
reline materials with real cells. In this surface of the orthodontic rest of the silica gel framework, which
condition the texture of bulges and retainer to have a closer is a porous structure. According to
bilges is almost the same as the body. resemblance to actual oral these processes I produce a sample
tissues I replace the soft of the framework, which is about the
Fig. 5 is a ow diagram of the denture reline material size of 1 cm x 1 cm x 2 cm. Inside the
cultivation of the tissue. From the with tissues constructed framework leaching salt causes holes
chart we can see cultivation begins from tissue-engineering to form, within which cells can grow.
by obtaining human cells (see the technology.
cell from biopsy in g. 5). These cells The next step is to place the MG-63
grow in the petri dish. Along with the STAGE THREE onto the framework for cultivation.
button of the dish the monolayer of I no longer use an After about a week of cultivation the
cells are expected in this process. orthodontic retainer as pigmentation is adopted to observe
The third step is to expand the cells the stability of the growth of the cells.
a tool to enhance the
into several monolayer cultures. The This shows the possibility of producing
pleasure from oral sex.
transplantation of the cell cultures from the ingredients of this experiment. The
Instead, I will surgically
the dish onto the 3D scaffold follows observed green particles are living
the former process, so that the cell implant real embossed cells; by contrast, the red ones are
cultures will grow into the composition soft tissue constructed by dead. From observation we can know
of the organ as expected (see Culture engineering technology the green ones outnumber the red;
on a 3D Polymeric Scaffold in g.5). on the upper palate of the
As a result the cultivated organ will be patient, thus creating a
2 Professor Lin is now the faculty of the
transplanted onto the body to perform permanent modification to Department of the Dentistry in the National
its function (see Generation of a Graft the oral cavity structure. Yang-MingUniversity in Taipei, Taiwan.
The Fellatio Modification Project #fabulation #beyond #morph
Project Format Theme Action

Fig. 1

Fig. 2

Fig. 3

Fig. 5

Fig. 4
The Fellatio Modification Project
Project
therefore, we can from this experiment claim that this
framework sample suits the growth of MG-63. Following
the success of the aforementioned sample, the framework
of the retainer will be further discussed.
From scientific research to artistic innovation I start to
imagine further possibilities, for the cells that do not
completely grow on the framework. The following
paragraphs explore these imagined possibilities. In an
ideal situation the soft denture reline materials on the
retainer of the rst stage can be replaced with the silica-
gel porous structure and also build up the construction
of bulges and bilges. I shot a video to demonstrate the
imaginary scene of the procedure of the experiment to
cultivate cells as technological progress meets the level
of what this experiment requires. Fig. 6 & 7 are clips form
the video. In g. 6 foetal bovine serum is placed in the petri
dish (a nutrition source to cultivate cells). The white retainer
in the dish is the framework of cells. The framework bears
no cell though during the shooting, yet I still follow the
procedure of cell cultivation: I put the framework into the
heat-control incubator in the video. In this imaginative
situation, I hope tissue grows on the framework. The
texture of the cultivated concave-convex form will be much
closer to real esh than of the inorganic polymer solution.
In this condition, during oral sex, the cultivated tissue will
generate much more intensive orgasms.
In STAGE THREE a retainer is no necessary to invoke
the bulge-bilge form design. Instead, the cultivated soft
tissue of the form design will be directly stitched up on
the surface of the palate, which is synonymous with the
permanent adaption and reconstruction of the human
body via surgery (see g. 8). Fig. 8 shows the oral and
maxillary ap operation in periodontal therapy. Via surgery
the soft tissue of oral cavity will be peeled back so as to
stitch up the cultivated concave-convex soft tissue. After
surgery the oral construction of the human body is forever
transformed (see g. 9). The transformed oral mucosa then
is forever appropriate for oral sex. This stage of surgery
cannot yet be fully performed, making this part of the
project an extension of my scientic fantasy.
The first stage can be thought of as an innovative form
of sex toy. The following stage pushes the project into
the realm of the biological sciences through the use
of real human tissue. In the final stage direct surgical
transformation is undertaken, resulting in a permanent
alteration of the body. In my plan the development of
these three stages is not progressive but optional, which
means users can make the choice how far along the
transformative process they are willing to go.
#fabulation #beyond #morph
Format Theme Action
BIRD BEAK CLONE
Among gay men the orgasm resulting from swallowing
the whole penis during the oral sex is a common pursuit.
However, the bulk of the oral cavity is limited. In this case
some people find it difficult to swallow the larger size of
penis, for this action can result in the spontaneous gag
reflex as the penis touches the pharynx and the larynx.
Therefore, the transformation goal in this section is to
increase the volume of the oral cavity by lengthening it
via surgery. As a result, the gag reaction will not occur
during oral sex, since the bulk is enough for the penis.
Furthermore, an enhanced intensity of orgasm can be
expected since the penis can be fully swallowed.
The orthognathic techniques in this section are adopted
from the eld of oral and maxillofacial surgery which aims at
the transformation of bone structure. Fig. 10 is an illustration
of orthognathic surgery. In the upper left of g. 10 we
can see the patient suffering from hypermorphosis of the
mandible; on the contrary, the upper right depicts a patient
whose lower jaw has failed to grow. Receiving orthognathic
surgery the mandible is moved along with the direction of
the arrow. The lower jaw of the patient on the lower left is
moved backwards; the lower right forwards. Fig.10 not
only illustrates the bone constructions undertaken during
surgery, but also photographs of the patients.
There are many sorts of surgical treatment associated
with orthognathic surgery. In this section, the Le Fort
I osteotomy 3 is adopted as the upper jaw is cut and
drawn forwards (see g. 11). For the lower jaw the
adopted technique is known as bilateral sagittal splitting
osteotomy4 (see g. 12). After the surgery the mandible
will be dragged forwards as well. This is the process of
the Le Fort I osteotomy. In g. 12 we can see both sides
of the lower jaw are split. Following this, the entire lower
jaw is moved forward. This is the process of bilateral
sagittal splitting osteotomy. After undergoing either of
these surgical treatments the split bone will be stabilized
by pins and forum, allowing the bone to gradually grow
into the new position. Accordingly, the upper and lower jaw
spontaneously move forwards, a pathological condition
called bimaxillary protrusion.5
Owing to legal limitations this experiment cannot be
taken to clinical trial. Therefore, I adopt model surgery
3 Le Fort I osteotomy is a form of orthodontic surgery. The treatment is
to cut the alveolar process of maxilla, then x it in place by pin. The
purpose of this surgery is to shorten the midface, move the upper jaw
forwards, or to the right or left.
4 Bilateral sagittal splitting osteotomy is a form of orthodontic surgery.
The treatment is to sagittally split the ramus of the mandible to adjust
the position, then x it in place by the titanium alloy pin. The purpose of
this surgery is to move the lower jaw forwards, or to the right or left.
5 Bimaxillary protrusion is a pathological term, which means protrusive
and proclined upper and lower incisors and an increased procumbency
of the lips. In this condition patients cannot close their lips and tend to
expose their gums while laughing. Their lips look thicker; comparatively,
their chin looks smaller. On top of this, as patients try to cover their front
teeth intentionally their chin will appear even smaller
The Fellatio Modification Project #fabulation #beyond #morph
Project Format Theme Action

Fig. 8

Fig. 6

Fig. 7

Fig. 9

Fig. 10
The Fellatio Modification Project
Project
and perform this new surgical treatment design on the
model. At rst, I take the computed tomography 6 to get
an image of the skull (see g. 13). From fig. 13, we can
observe each gray-scale image is a 2D section from three
different aspects. The upper left is the transverse section,
the upper right the longitudinal, and the lower right the
sagittal. Based on these three images of the three different
sections we can construct the 3D model of skull in the
computer (see g. 14). The red part of the lower left image
in the g. 13 is the 3D model of the mandible bone, and
the comparative position in each of the other gray-scale
images is marked in red. The image to the left in g. 19
is the 3D structure of the entire skull. From the image to
the right, we can see the two cutting lines, which marks
the surgical cutting position of the maxilla and mandible
respectively. To highlight, the cutting position is predicted
by the adoption of the 3D model. As the cutting line is
marked, the simulated operation can be performed in the
computer (see g. 15). In g. 15 the comparative position
of the bone before/after the surgery can be observed: the
image to the left illustrates the bone position before the
surgery. As we can see, the upper jaw is cut into two parts
in blue and in green by Le Fort I osteotomy, the lower in
yellow and blue by bilateral sagittal splitting osteotomy.
From the image to the left, we can see the bone position
after the surgery: the blue part of maxilla and the red of
the mandible are moved forwards and lengthened. In
addition to the simulated surgery in the computer, we may
adopt 3D printing methods 7 to print out a 3D model of
the skull. Therefore the model of skull can be corporeally
cut, which help to evaluate the possibility of the surgery.
Fig. 16 & 17 illustrate how the 3D model is corporeally
cut. Thus, we can observe the details of the comparative
position of the surgery in space.
Conclusions
Comparing the Male Masturbation Cup to the Bird Beak
Clone, the key difference lies in the obvious change of
the appearance after transformation of the body. To some
extent, this change of the appearance would mark out the
sex hobby of the surgery recipient, which may then affect
the relation between this person and society. Extending
the implications of this project into a speculative future,
this surgical technique could be widely adopted among
a specic group of gay men who find fascination in oral
sex with larger penises. Among this group, gay men may
take the surgery to make their oral cavity able to contain
a larger size of penis. Under these conditions the obvious
change of their appearance will make the beak-like mouth
a token of their group. Furthermore, people of this group
will be able to distinguish their partners by their specic
sexual hobby. The reason why I set up this scientific
fantasy of gay cultures is to highlight correspondences in
present day gay subcultures, especially the Castro Clone.
Originating in 1970s San Francisco, the Castro Clone is
a classic example of a group of gay people known for a
specic appearance. As the gay liberation movement
#fabulation #beyond #morph
Format Theme Action
came into focus this group of people dressed themselves
in the style of blue-collar labor workers as a token of
worship for the masculine image. That is to say, this group
of gay men fashioned themselves in the same image as
the objects of their desire and sexual attraction. As a result,
this group of people are called clones.8 During the 1980s
many gay subcultures gradually varied from the Castro
Clone, such as the Bear and Monkey, in which gay men
shared and pursued one specic body image as a token
to their own group. In my imagination, Bird Beak Clone is
also a gay subcultural group founded on a specic body
image: the beak-like mouth as a token. Through my fantasy
I want to raise a question as to whether the demonstration
of a sex hobby is synonymous with the demonstration
of the stigmatization of sex. Can the act of claiming and
reifying the sexual hobby be considered a challenge to
the xation and naturalization of sex?
6 Computed Tomography, abbreviated as CT, is to scan the human body
by X-rays. The computer then computes a 2D image for the physician to
observe the internal part of body. The invention of CT realises the dream
that the living organs and the anatomical structure can be observed
without cutting the human body, as well as that infections inside the
body can be easily seen. Undoubtedly, the invention of CT is a great
milestone in the medical eld. This technique was first proposed by the
British engineer, Houseld, who was also rewarded with the Nobel Prize
in Physiology or Medicine for his invention. The usual application of
CT are on the head, the ENT (ear, nose and throat), the thoracic cavity,
the abdomen, the pelvic cavity, the spine and the joints. But almost the
whole body can be examined by CT.
7 3D printing, a.k.a. Addictive Manufacturing, is one technique of rapid
prototyping. Based on a digital model le almost any 3D object can be
immediately printed by this technique. Through successive layering
of powdered metal, or resin, the kind of adhesive materials used in
3D printing allow for the construction of objects, a so-called additive
process. The techniques of 3D printing vary from that of traditional
mechanical work, since the latter is usually considered a craft on
pre-existing material, through processes of cutting, peeling, or boring.
In the past 3D printing was usually applied to mould production in
industrial design. Today it is also used to for direct product production,
especially valuable products (such as the pelvishipjoint, the tooth, or
some accessories of the plane). To produce accessories by 3D printing
furthers the popularisation of this technique.
8 Originating in the 1970s Castro Clone is a gay subculture focussed on
the worship of masculinity. Members of this subculture, clustered in the
Castro distinct of San Francisco, perform a strong, muscular self-image.
They always build their physique well at the gym, have their hair cut
short, and wear a thick mustache. They also prefer to dress themselves
with the look of blue-collar worker.
The Fellatio Modification Project #fabulation #beyond #morph
Project Format Theme Action

Fig. 11

Fig. 12

Fig. 13

Fig. 14

Fig. 15

Fig. 16

Fig. 17
Chris Coleman Fundament(al) 3D Printer
Author Project
Fundament(al)
3D Printer
The design for Fundament(al)
3D Printer depicts a method for
creating a large scale biological
printer. Using a basic shop gantry,
a hanging sex sling, some servo
motors and a prone subject, one
could build a printer capable of a
large print volume at a very low
cost. One could argue that the
printer is using recycled materials to
print, but this would be false since
the filament is a dual purpose hot
2015-2016
Year
end energy source with the waste
product becoming the printed
material. The benefit is that the
printed material is biodegradable
or can be sealed with clay for a
structural and insulated wall interior,
not unlike the dung huts in use
around the world.
We often find that we are making
machines which replicate functions
we can do, perhaps even more
#blueprint #postnature #replace
Format Theme Action
Method for creating a large scale
biological printer
efficiently. This project is connected
to #Additivism because it is much
more human in its approach to
dimensional printing, while also
being extremely inhumane. How
long could I run this type of hot
end for the cost of the $300 hot
end on eBay, or the multi-thousand
dollar one in a high end printer?
Fundament(al) 3D Printer #blueprint #postnature #replace
Project Format Theme Action

Filament
Material Bin
with pre-
mastication
system Overhead Gantry
system driven
by Servo Motors
for accuracy

Preferred
Filament
types include
those high in
fatty proteins
for smooth
extrusion and
good layer
adhesion Humanoid
Extruder/Hotend

Biodegradable
printed model
using recycled
materials

Large scale BioPrinter

This design for a large scale 3D printing system that reduces energy use and can easily produce prints on the
scale of 3m x 3m x 3m. The Hotend should produce prints for 45-60 years, depending on Filament materials. The
largest drawback to this system is the extrusion speed, which is limited to 1 m/hr or 17 mm/min with a typical 2-3
cm nozzle. With smaller models the drying/cooling time might require slower speeds until current research into
reliable coagulants if completed.
Brittany Ransom Pests in the Ontological Mesh 2016 #fabulation #postnature #collide
Author Project Year Format Theme Action

Pests in the
ontological mesh

it could be argued
that we are in fact
the most expansive,
destructive, and
widely networked
pest system that
exists on the
planet.
Pests in the Ontological Mesh
Project
Other species arguably mastered additivist
technologies before humans ever began to dream up
the machines complacently sitting on desktops oozing
out techno-colored plastics into the shapes of rabbits
and teapots. Long before the Stanford Rabbit and
the Utah Teapot were conceived, natures 3D printers
and additivists have been hard at work beneath our
feet shifting the dirt on which we stand, in flight just
above our heads carrying their own filament behind
their legs and in their mandibles, and skimming
through the waters to construct complex structures
by physically transforming materials from one state
to another. For example, leaf cutter ants shift tons
of soil to create complex underground systems of
interconnected super roads that lead to homes, farms,
trash pits, and birthing centers while paper wasps
whisk together fiber with their own saliva to form
ever evolving nests. Caddisflies vigorously move
through rivers all over the world building protective
shells from debris that drift along the bottom of
their watery worlds. Termites, like ants, display the
ultimate ability to construct fully functioning cities
that can rise up from the ground like a 3D printed
high rise made of dirt.1
Over time, these insects have adapted their building
styles and structures to evade (and sometimes entice)
warfare with other species, some constructing super
cities and new methods for living, while all ultimately
evolving their building techniques to coincide with
the ever changing ecological systems in which they
exist to ensure their own collective survival. All
of these insects, instinctively and historically have
been building structures, one layer at a time, devoid
of care for their millimeter height resolution. The
aforementioned insects are a very small sampling
of what we as humans have determined to be pests.
These pests have the ability to collaboratively
form cities with governance, organizing labor into
class based systems, and distributing resources
for the greater survival of the species as whole.
Metaphorically there is no denying that human and
insect pests can be linked through some of these
societal similarities.
The term Pest, as defined by humans reads: A
destructive insect or animal that attacks crops,
food, livestock, and other resources. Informal, an
annoying person or thing a nuisance. If we apply
this criterion to the way that humans devour and
reconfigure planetary resources, it could be argued
that we are in fact the most expansive, destructive,
and widely networked pest system that exists on
the planet. Like many species of insects who share
information via pheromone systems, humans have
developed a hive mind through social networking
#fabulation #postnature #collide
Format Theme Action
applications and desktop tools. The Internet has
given way to our very own techno-plagued system
that allows for the instant sharability of information
as well as perpetual connectedness through our now
cyborgian-selves with cellular data being passed from
our bodies, to satellite, and back down to earth. As
pests we have evolutionarily come up with our own
systems that allow us to swallow natural resources
and re-allocate material through a constant and
steadfast digestive appetite for the next best, bigger,
faster and more efficient technological innovation.
At one time, additive technologies were only
attainable by the highest of powers, engineers who
held positions of access in the technological Queens
court. As time has progressed, metaphorical workers
(common humans) have gained access to their very
own additive desktop tools, thus fundamentally
dismantling a branch of the hierarchy of technological
infrastructure. While social pest-based insect systems
share a common goal of developing their additive
structures to protect and build their colony for the
common good of the whole, 3D printing technologies
have become our human call to creating our own
solitary hives. Individualized fabrication and
replicability has allowed us to stray from our reliance
on certain elements of the hive to create and print our
own forms of architecture, body attachments, food
sources, speculative experiments for survival, along
with mass amounts of plastic junk. Conversely, the
hive mind of the Internet drives the sharability of
these new forms, technologies, and techniques across
cultural boundaries allowing one hives creations to
permeate another.
Humans engaging with these technologies obviously
have individual intelligence and decision-making
capabilities that do not necessarily tie them to a
socialist type regime in the way that insect super
organism systems operate. One must consider what
the consequences are, if any, of an individualized
world where one with access to these technologies
can simply press print to bring a digital mesh into
the physical world regardless of whether or not the
mesh in question benefits a larger group in any way
or if it should. Should the human pest be mindful
of its steadily growing pool of PLA further aiding
in a different form of ecological disruption? Are
3D printers a tool that works towards forming new
solutions for our collective survival? Or will these
tools be used in/for individualistic dismantling of
architectural, biological, and ecological systems
1 Collective Mind of the Mound: How Do Termites Build Their Huge
Structures by Lisa Margonelli for National Geographic
Pests in the Ontological Mesh #fabulation #postnature #collide
Project Format Theme Action

and structure? The potential for rupture in our

interdependency on the larger hive structure for
tangible, fast, and custom approaches to solving
DIY solutions needs to be able to support individual
departures. The accessibility of additive technologies
for humans has created a potential pathway to
further individual agency and depart from factory
manufacturing through the hive mind of open source
digital media. Ultimately as builders we are all
partnered as pests in the ever-shifting ontological
mesh of technological tools.
Nano Entity Reconfigured Crevices:
Collective An Habitual Interruption
Author Project
Reconfigured
crevices:
an habitual
interruption
#Additivism presents an opportunity
for active engagement with social
and community design processes
that bring together artists, designers
and architects to create something
more than we can produce
individually. This speculative
text or call to action proposes
three interconnected and parallel
concepts or modes of action:
1 Combine Public Art
& Public Housing using
technology to participate in broken
systems through intervention and
active representation; finding the
holes and niches to allow for useful
habitats within public spaces.
2 Building affordable
social architecture using
3D printed component systems
combining and facilitating a spatial
intervention and disruption by
stealth and layering; engaging
citizens, including marginalized
communities, in the architecture of
public space.
3 Provoking community
engagement with
disposable art and design
concepts through digital
examples of possible architectures
and proposed systems.
2015
Year
Public spaces once provided
useful transient habitats such as
waterfronts, forests, fields, cliffs,
caves and large objects with crevices
and niches. These spaces still exist
within current urban environments
but they are poorly utilized and
configured. Many of these natural
spaces are encroached upon by
wasted built environments.
Ephemeral or transient social
structures also have well developed
histories within the engineering,
arts and architectural communities.
However, primarily this has
involved disparate discussions
about parasitic and ephemeral
architecture, the planning of public
and urban spaces as an after
thought, social welfare programs,
and affordable and refuge housing
for the homeless.
3D rapid prototyping and
manufacturing has reached a point
where many ideas to deposit a new
layer of habitation can be quickly
and easily exchanged. Theoretical
and practical domains can be
more productively interconnected.
New 3D printing systems excel in
allowing for fast design and iterative
customization and the manufacture
of viable architectural components.
#fabulation #futures #deface
Format Theme Action
Proposal for the promotion
of parasitic, adaptable, and
transient architectural additivist
interventions
#Additivism calls for a re-
examination of space and the
way it may be used to design and
create construction systems that
can be reconfigured and used in
site-specific ways. The idea is not
to focus on any specific individual
technology output itself as there
are many paths, techniques and
materials to use but to see the
big picture of how interchangeable
and adaptive these technologies
can be to people, place and
materiality. There should be no
presumption of a single fixed
solution to a problem or challenge
and the results should also
preferably be easily manufactured
and scalable.
Additive manufacturing is not just a
simple deposition layering process,
but a theoretical and conceptual
approach to combining and adding
to form and function and respond to
immediate input.
What follows are a few speculative
examples of architectural builds
with possible structures and
component systems. It includes
visualized examples of colonizing
walls and crevices with a selection
of ephemeral emergency refuges
and more permanent structures.
Reconfigured Crevices: An Habitual Interruption
Project
Emergency refuges built for public seating
1 Combine Public
Art & Public Housing:
depositing a new layer of
habitation
Consider it a way to acknowledge
the multiple users of contemporary
urban landscapes, including
entrenched marginalized
communities, and to manage a
fully integrated public realm with
a more diverse input, using artists,
designers and engineers to provide
guidance and enhancements.
Consider it as using technology
to participate in broken systems
through intervention and active
representation; finding the holes
and niches to allow for useful
habitats within public spaces.
Cities and nation states will often
commit vast amounts of resources
to superficial decoration of non-
functional social and public spaces
citing this as an essential social
need, while real attention to more
relevant social requirements and
activities are often ignored. Just
as our cities erode and break
down, in a somewhat organic way,
we should attempt to rebuild and
create a new layer of habitation in
and on them.
There is a large array of people with
knowledge and research invested
in this type of approach. We need
to build real interaction between
professions, arts and trades
engaged in discussion around
public space.
By bringing together interested
parties and placing more thought
on the use of rapid design
resources and manufactured
materials a more positive outcome
might be achieved.
While the scope of this may seem
too unwieldy or impractical it is
worth noting there is already a large
array of people with knowledge
and research invested in this type
of multi-field approach and with
an interest in solving the same
problems. There is a genuine interest
and desire within many communities
to have meaningful interactions with
this type of project.
There is more to this than simply
exploring parasitic architecture
where modular, adaptable,
#fabulation #futures #deface
Format Theme Action
A few suggestions FOR
parasitic architecture:
Creating public space niches
explicitly for the express
purpose of transient habitation
and interaction, e.g. while
building a wall to keep
transient people out of an area
the resources might be better
used to provide structures
that demarcate a clear border
but that also give shelter
and invest in other social
services and structures to help
redirect energy into resolving
the underlying problem in
a positive way and inviting
participation.
Creating guidelines for the
use of public space to make
allowance for interconnected
social spaces that can be used
specifically to erect transient
structures for multiple use,
including housing, business
and social events, e.g. spaces
designed specifically to allow
for pop-up galleries, markets
and other like businesses.
Planning publicly funded
housing and arts projects to
incorporate a wider range
of approaches to possible
materials and resources
used in planning and building
processes so as to include
those that may be considered
shorter term and adaptable
or easily interchangeable or
replaceable, i.e. assume a roll-
over component of adaptable
and flexible housing designs
that will change often and
regularly.
Wire-like fabric structures designed to use crevices
in urban landscapes.
Reconfigured Crevices: An Habitual Interruption #fabulation #futures #deface
Project Format Theme Action

Some of the primary

needs and issues for
this type of habitation:

Protection from weather and

Dynamic suspension domiciles for use in difficult situations
transient and exploitive structures a home is the human need for
force relationships with host personal shelter and safety and
buildings. preserving a sense of identity within
a social context.
Artists, designers, architects,
engineers and social urban The focus for development should
planners have all played a be about how spaces can be
significant role in theorizing and colonized and how structures can
conceptualizing the possible end be quickly erected, added to or
use applications of these types adapted for other use, and either
of technologies. However there is easily removed at a later time
still a large gap between them. A or allowed to erode or dissipate
significant change in direction is naturally. Along with this is the factor
required at this point to bring about of how they might be interconnected
practical outcomes. and how they should use public
and private services with the most
Although the focus here is on minimal impact.
densely populated urban centers,
there is no reason to limit this Longer term structures that are
approach to urban areas as remote more permanent, mobile or made
communities would likely benefit with longer lasting resources can
significantly as well from the also be included in these designs.
resulting available customization There is no reason why these
and mobility of structures and direct projects should be seen only as
community involvement. ephemeral or short term.
One idea for a viable method of
2 Building affordable creating and supporting displaced
social architecture communities finding more
acceptance is one of providing
Ephemeral structures, modular and minimal public or community
mobile housing systems have been developed housing. Research
explored extensively over the years shows this to be one of the more
by those working as architects, cost effective ways for temporarily
design engineers and others with relieving the stress being placed
an interest in social needs. on communities and their local
The basic problem of providing government.
damage considering resilience
or longevity of materials sun,
wind, water and other natural
forces that cause physical
damage;
Personal security and privacy
as controlled interactions with
other people potentially
positive, as with family and
friends, and potentially
negative, with hostility from
social interactions and legal
intervention;
Safekeeping of possessions;
Hygiene and sanitary facilities
including cleaning of clothes;
Obtaining, preparing and
storing quantities of food;
Identity providing a
permanent location for
communication and contacts.
areas that have been
historically examined
include:
Emergency events such as
natural disasters like floods and
earthquakes where immediate
emergency shelter is required,
but also housing that is
possibly going to be needed for
an extended period while more
permanent structures are built.
Conflict situations where
significant populations have
been displaced or forced out.
Transient working populations
employed on fly-in-fly-out
contracts in remote areas.
Large event scenarios where
short term shelter is needed.
Basic social services such as
providing safe housing for the
homeless and economically
challenged.
Convenience shelter such
as pod and cubical style
accommodation located in high
traffic public spaces such as
transportation hubs.
Reconfigured Crevices: An Habitual Interruption
Project
Suspended structures for ongoing popup habitation
The scale of 3D printing systems
output has reached a viable point
where the whole process of design
and manufacturing of housing
components can be applied to a
larger planning and production
scenario.
Many manufacturing industries
have already employed automated
computational production for a
very long time to produce mass
architectural surface and component
objects, using injection vacuum
molding, laminating, lathing, profile
cutting, encasing, sculpting, liquid
glass forming and other techniques.
But most of these have been large
purpose-built production systems
designed for a single output with
little option for customization and
iterative learning design processes.
New 3D printing systems excel in
allowing for fast design and iterative
customization and manufacture of
components. They also fit perfectly
with the Lighter, Quicker, Cheaper
(LQC) concepts of creating and
testing a project immediately and
with direct community involvement.
Aside from the obvious speed of
design and production, probably
the most useful adaptations that
3D printing techniques can provide
are unusual complex design
combinations where the unique
material combinations and direct
customized end-use product design
can have multiple uses. A 3D
prototyping system is well suited for
building construction components
that allow for quick assembly and
interconnections to be made with
basic services.
Recently plastics have been seen
as the primary cheap direct 3D
printing material, however this is
rapidly changing. There has been
a long history of other forms of
computational 2D & 3D output.
Useful CAD and CAM 3D printing
systems can include water-jet
and laser profile cutting, SLA,
SLS, Polyjet and a wide range of
other material lathing, sculpting,
excavation, fusing, erosion and
deposition systems including
systems for producing food.
Included in this mix is the
integrated use of constrained
organic reproductive methods
of plant and algal growth both
controlled naturally and within
#fabulation #futures #deface
Format Theme Action
useful combinations OF
3D printing+ materials
Movable channeled surfaces
to grow plant and algae to
provide food production, help
direct water movement and
provide adaptable thermal and
light insulation. This fits well
with recent developments in
hydro and aeroponics.
Replaceable absorbent
surface units impregnated with
nutrients and seeds for plant
growth and decoration.
Combining solar panels or micro
wind channels and electrical
conduits for connectible and
expandable power production,
conversion and transfer.
Lamination of alternate
conductive and non-conductive
surfaces to create large scale
electrical pathways similar to
silicon chip manufacture. This
can also include embedding
objects and useful utensils
like electrical devices into
structures and surfaces.
Extruded fibers or mesh
formed into shapes and then
covered by deposition to
harden for structural integrity,
e.g. used to create underlying
structures for building concrete
and ceramic surfaces.
Free-form interlocking
structures that can be quickly
formed into various shapes
and then locked together with
a deposited surface layer or
wrapped with a mesh.
Interlocking profile cut surfaces
used to make structures which
can then be clad or wrapped
with cloth, metal or other
flexible meshes, as is now a
common building technique.
The profile cut materials can
be made from silicon, plastics
sandstone or timber.
Construction units that can use
surface textures to adhere to
other surfaces and aggregate
and form cohesive self-
supporting structures.
Self inflating bonded surfaces.
Reconfigured Crevices: An Habitual Interruption
Project
Fully scalable modular component system for housing
systems such as hydroponic and
aeroponic structures. This may be
used to create very slow growing
deposition systems where the form
and surface continue to be laid
down or created very slowly.
3D printing combined with further
material deposition over the 3D
printed structures is a useful way to
approach this as well. All manner
of materials can be attached
or layered on core frames and
bridging structures. This can extend
to various thickness tissues, skins
and fabrics.
Through these tools we have
access to a malleable and
resilient atomic like modular and
organic creation system that can
incorporate and combine living
and dead construction tissues.
These component design and
construction methods can be used
at a low level with simple objects
of play and at a more developed
level with industrial production
systems for food and general
commercial products, e.g. hydro/
aero plant growth production, light
reactive glass and plastics and
surface/wireless conductive power
transfer systems, inflatable bonded
and sealed surfaces.
The rapidly developing 3D
printing plus technologies provide
a dynamic and cost effective
framework to help facilitate these
changes. Additive blending and
layering of surfaces that attain
specific outcomes is desirable in
a single component unit. These
can include composite materials
like resins that bond or harden on
contact during the printing process,
embedded electronics or methods
of after print infusing methods
such as those used to bond metal
ceramic dust and other materials
through chemicals and heat.
This will obviously be the way
additive 3D printing will continue
to develop the inference being
that as the industry develops more
of these complex multi-material
surfaces and layering techniques,
they will become standard for
#fabulation #futures #deface
Format Theme Action
producing larger and more useful
architectural grade products.
3 Provoking community
engagement with
disposable art and design
concepts
There is a permanent critical
mass of transient and malleable
human populations that should
drive the need for a reassessment
of how and where people gather,
interact and live. The way people
communicate, consume and
interact requires quite different
structures and spaces to resolve
issues around the design of public
space.
Cultures are diverse and
splintered and public spaces
are being colonized and used in
new ways. Until recently these
public spaces for interaction
mostly have been after
thoughts, dominated by thought
remnants: a call to disjointed
histories and dysfunctional
Reconfigured Crevices: An Habitual Interruption
Project
Fully mobile component housing incorporating power generating surfaces
architecture, relying upon default
actions of participation, design
and fabrication, leading to a
monumental sculpting of public
space using hard surfaces and
inflexible materials, often mapped
on denuded and degraded green
spaces.
Worldwide there is a change
happening with permanent
bodies of transient working
populations, mass production
industries being reconfigured and
displacing communities on the
move and refugees moving from
places of conflict to more stable
environments.
Finding adequately configured
social housing for these now
constantly mobile dynamic
populations is becoming a critical
issue. There has been a wide
range of ways to approach this
including simple exclusion and
policing to force compliance.
Emergency living support systems
are being developed such as the
tent in a box systems used for
post disaster scenarios.
We are living in the moments
between the edge of self-
replicating technology and the
blending interface of the organic
and inorganic; where the spectacle
of decay and erosion meets with
reconfiguring, reuse and integration
of technologies and materials.
This change also includes the
promotion of community driven
gardening and food production
in urban environments, guerrilla
gardening in disused or abandoned
public space, alternative power
generation systems and multi-use
environments and objects.
By carefully examining public
space and the way these may be
used we can design and create
construction systems that can
still be reconfigured and used in
site specific ways, as remains
familiar to traditional land use,
where nature, seasons and social
occasion combine to inform land
usage and the experience of
habitation, with structures made,
remade and composted.
There are many existing examples
of successful active engagement
with social and community design
processes that bring together
artists, designers and architects
to create something more than we
can produce individually.
#fabulation #futures #deface
Format Theme Action
a few simple concepts
and examples to
consider:
A habitat using many simple
free-form interlocking objects
which form a self-supporting
structure to which a protective
surface mesh can be applied.
A habitat from interlocking
units of various sizes that can
be used to form an enclosing
self-supporting structure.
A clinging 3D structure system
where printed objects can
be thrown together loosely
to create self-supporting
constructions.
A habitat from a series of
interlocking tiles. Possibly a
linking channeled brick-like
system to quickly create simple
rigid and insulated structures.
A habitat from wire-like fabric
structures designed to use
crevices in urban landscapes.
A habitat from fabric structures
designed to attach to walls in
urban landscapes.
A habitat from a tensioned
fabric structure that can be
suspended between buildings
in urban landscapes.
A suspended extruded fiber
habitat that can be attached to
walls and poles in the urban
environment.
A profile cut form to which a
fabric is attached to form an
outer shell.
A simple monolithic form that is
designed to be inhabited.
Emergency refuges inside
public seating and transport
shelters.
A discrete mobile habitat form
that can be easily disguised.
Joey Holder The Evolution of the Spermalege
Author Project
THE EVOLUTION
OF THE
SPERMALEGE
Traumatic insemination, also known
as hypodermic insemination,
is the mating practice in some
species of invertebrates in which
the male pierces the females
abdomen with his penis and
injects his sperm through the
wound into her abdominal cavity
(hemocoel).1 The sperm diffuse
through the females hemolymph,
reaching the ovaries and resulting
in fertilization. The process is
detrimental to the females health.
It creates an open wound which
impairs the female until it heals,
and is susceptible to infection. The
2016
Year
injection of sperm and ejaculatory
fluids into the hemocoel can
also trigger an immune reaction
in the female. Bed bugs, which
reproduce solely by traumatic
insemination, have evolved a pair
of sperm-receptacles, known as the
spermalege. It has been suggested
that the spermalege reduces the
direct damage to the female bed
bug during traumatic insemination.
However, statistical experiments
showed no conclusive evidence for
that hypothesis, hygienic protection
against bacteria being the preferred
explanation for that organ.2
#fabulation #postnature #bridge
Format Theme Action
A series of interspecies sex organs,
modeled on insect genitalia
The evolutionary origins of
traumatic insemination are
disputed. Although it evolved
independently in many invertebrate
species, traumatic insemination is
most highly adapted and thoroughly
studied in bed bugs, particularly
Cimex lectularius.1,3 Traumatic
insemination is not limited to
male-female couplings, or even
couplings of the same species.
Both homosexual and inter-species
traumatic inseminations have been
observed.
The Evolution of the Spermalege #fabulation #postnature #bridge
Project Format Theme Action
The Evolution of the Spermalege
Project
Much of Joey Holders work
references weird nature or
species-othering and features
an array of creatures that dont
seem to fit within the fabric of our
usual day-to-day existence. The
Evolution of the Spermalege is no
exception, and she has created
3D printed silicon dildos based on
insect genitalia.
Format
Insects have some of the strangest
mating practices in the animal
kingdom: honey bees penises snap
off and explode, female praying
mantis eat their male partners
(sometimes even during copulation)
and male bedbugs use their
scimitar-like sexual organ to impale
the female bedbugs body and
deposit the sperm. Like bedbugs,
#fabulation #postnature #bridge
Theme Action
bean weevils (Callosobruchus
analis) also use this process of
traumatic insemination to mate and
one of the 3D models is based on
this spiny penis.
The models express the myriad of
exquisite forms found in the animal
kingdom which are often invisible
to the naked eye.
Alan Warburton 3D Print Simulator 2015 #device #matter #bridge
Author Project Year Format Theme Action

Tilable map for simulating

the finish of 3D printed
objects

3D Print
Simulator
3D Print Simulator
Project
3D printing is time-consuming,
complex and expensive. The human
labor involved to ensure a print is
a success can often send costs
spiraling out of control, and often the
end product can be disappointing:
fragile, distorted and structurally
unstable. 3D Print Simulator reclaims
the 3D print and re-virtualizes it. In
doing so, it urges a re-evaluation of
the problem 3D printing supposedly
solves how an immaterial
medium (CGI) can participate in
traditionally materialist economy.
Do we need to touch something, to
own something, to value it? Does it
need to be constructed from a finite
natural resource to participate in a
market? Returning the 3D print to
an immaterial visualization therefore
returns us to the very contemporary
and unresolved conversation about
digital craft and how to quantify
and value it.
3D Print Simulator eschews the
tendency to fetishize the 3D print
by attending more closely to its
most disappointing and tricky
formal qualities, specifically its
striations and particulate noise. In
doing so, it not only focuses on an
obvious resemblance to geological
sediment that calls to mind the
material ancestry of oil and
plastic, it also opens up a wider
line of questioning to do with the
complexities of production.
The flimsy, hollow, grainy 3D print is
an unwitting symbol for an age that
views technology as redemptive.
The 3D print like the iPhone, the
Nest Thermostat or the self-driving
car is expected to just work and
the fact that it doesnt is interesting.
All the pitfalls and contingencies
of 3D printing point towards an
uncomfortable and inconvenient
#device #matter #bridge
Format Theme Action
reliance on human labor and
unstable materials. The expertise
involved in fixing a 3D model so it
can be printed is hard-won and the
degree of human problem-solving
should not be underestimated. If it
is, we capitulate to the devaluation
of labor in the name of frictionless
tech. This project ironically
removes the human friction as a
means to drawing attention to it.
The work consists of a 2000 x
2000 pixel tileable normal map.
This type of image is used in
CG software to simulate surface
texture on a digital model. It can be
plugged into either a bump, normal
or displacement file node, works
on any 3D model and in any 3D
package. It requires little expertise
and avoids disappointment and
waste.
Katie Kaulbach and INSTAR III : Excerpts from the GP 2016 #fabulation #futures #replace
Timothy Weaver Chronicles of Scion Uma Oickle Year Format Theme Action
Author Project

INSTAR III:
Excerpts from the
GP Chronicles of
Scion Uma Oickle

That dream
state consisted
of a folding of
proteins, bathed
in the aroma of
damp fiber and
expressed in a
multitude of
form.
INSTAR III : Excerpts from the GP Chronicles of Scion Uma Oickle
Project
The infinite desert of the Scarlet Sector had long
been quarantined. The region was forgotten after
the contagion of the SinNombre-ICD10STM Virus
had suffocated the human populace for multiple
generations. Confederation drones fully monitored
the sector but there were no extractive interests so
the PATERNAL ORDER had simply stamped the
area OF NO CONCERN/BARREN on the obsolete
3DtopoPrntSM. No 4DtopoSimsSM with a timelink
existed. The land had fallen into locative amnesia.
Turk was struck by the contrast of this place compared
with what most of the terra had become. He gazed
out across carminic-colored cliffs, untainted flowing
water and living chloroplast-filled canyons. The visible
sun was blindingly bright and he had no need for his
urban deClogVisEVisersTM. The Bears Ears region
was close to the descriptions in his GrandParents
parchment journals now brittle and yellowing with
age. These journals had fascinated him but it took
many years of laborious study to learn how to
discern the ancient cursive writing of intertwined
ink patterns now lost but to a handful of scholars.
The pages contained hand drawn maps, sketches,
and observations both mysterious and tactical
providing him with enough content to consider the
NOCONCERN/BARREN Expedition.
In his youth, Turks explorations had been off to the
newly accessible planetary clusters and belt objects.
He had a cultish following that enabled him to make
a modest living transmitting and projecting back his
far-flung wanderings via 7DREALeyesTM. Twelve
years ago he was named PolydimensionalExplorerTM
of the year. So now, on his own planet and within his
Confederation, he was making this earthly journey
to a place more unknown than the trans-Neptunian
objects.
Getting here in the old 74 had been a long arduous
journey. To facilitate this far-flung surface travel Turk
used the abandoned network of deteriorating roadways
by repairing them with the SUCITTUPP Flat
printer, its continuous drive peeling up the highway
base behind him and layering the material down on
the road ahead. He drove the original 74, revered
as a family heirloom the very transport that his
GrandParents used when they visited this sector. Turk
hybridized the vehicle to nostalgic versions from the
era of metal and fossil-fluid plastic assemblages using
dataform parts catalogues.
He reprinted the hulky 74s main shell carapace
as a solar sink, needed for propulsion when direct
atmospheric residue aspiration could not be pulled
from the postindustrial pollutant-rich airspace beyond
#fabulation #futures #replace
Format Theme Action
the megacities leaden veil of sinthaChemicalsTM. The
aging but reliable 3DSwuziTM printer in the 74s bed
had allowed him to replace damaged parts and tires
along the way. His expedition gear bundle consisted
of a swarm of outmoded and prototypical printers, the
GASPeratoreTM with a stock of raw pollutant material
for device backup, and the fragile fiber journals.
His arrival was a venture of place and the stories
his GrandParents had related to him as a young
boy still preserved in the cryptic journals. Most
people would have accessed the tissue bank of their
GrandParents, CellBlaasstSM printed the GPs into
existence with the 6DCorporealPrintBOTTM - wiring
in a few robotic parts for gestural presence listened
to their stories enjoyed a visit of convenience
with them then re-banked the dessicated cells
back onto the matrix/blotter raft. His GrandParents
had refused the EverlastScan4DEverSM that would
have allowed their progeny to know their material
selves. In later years, they rejected any skin
degradation management even with the availability
of Cellular3DEnHANCEmentSM Sticks. The unique
lines of their crevassed faces were embedded in Turks
memory. His GPs became increasingly despondent
as they aged and one day vanished escaping the
TechnoCracySM that decreed Dermal Perfection and
Epilators for All!
Turk climbed up to the canyon cave balcony above
him. Shallow indentations marked the caves smooth
sandstone floor. Human footprints transforming to
bear pads to hooves and finally to large-toed avian
impressions ending at the precipitous cliff edge with
only the expanse of sky beyond. Had this been some
strange chimeric creature from the past that could
transform much like the ChimerOBotsTM that could
4D self print and propagate in real time? He sat on this
precipice wondering if his GPs had been in this very
spot.
He got up quickly to naturally eye scan the landscape,
his head meeting the knife-edged rock above. Blood
began to pour down his face. Turk needed to act
quickly as a wound in this once SinNombre viral
laden environment could be fatal. He pulled out
the small FirstAidMorphoGenic4DPrintBotTM and
removed the MicroPropagationRaftpad TM that
would enable the explant cells coupled with his plasma
clots to overwrite the gaping laceration with new
epithelia. He reached for his replacement cells but in
his euphoric haste for investigation he had left them
back at the campsite in the old 74. A truly stupid and
potentially lethal omission. He could bioPrrobeSM
primary cells from himself but the bleeding was
profuse. His hand reached for the talisman that
INSTAR III : Excerpts from the GP Chronicles of Scion Uma Oickle #fabulation #futures #replace
Project Format Theme Action

hung around his neck. The ampule contained his
GrandFather Jons memory cells, neural tissues
bioPrrobedSM and bi-OKEPTSM. It was the one living
biobitByte he still possessed of his GrandFather. His
head was hemorrhaging.
What the hell? He loaded the GF explant cells onto
the printing MicroPropagationRaftpadTM, placed
it over the laceration and covered all with the
4DMorphogenicFlexChamberTM. He sensed his GFs
presence as the cells repopulated and covered the gash.
The wound was mended and he walked down canyon.
and expressed in a multitude of form. The sensory
field consumed him a meditative space of the
transformative residue of an emerging being. Turk
didnt know how much time had passed when he
finally awoke, swaddled and encased in the silk mesh
of a human size cocoon crosslinked and interwoven
in the BiohmBottTMs retrieval mission. Beyond his
inner void he could still hear the recurring sweeps of
air and detected flying beings hovering and encircling
his new fibrous home.

The landscape was filled with verdant botanic-forms.

He noticed what he believed to be Asclepias syriaca
with its nectariferous, pink clusters and broad ovate-
lanceolate whorls. Examining the velvety soft leaves,
he discovered conical-shaped fibrous pods attached
on the underside. He pinched a pod off to look more
closely and sensed the energy within. He popped it in
a SynthaVialTM complete with its EnvirOChipEETM.

After returning to camp, he scanned the soft casing

and uploaded the entity repro into his MindDryveTM.
The analysis determined that the bite size protein
source was one of the nutritional mainstays of the
general populace, now synthesized and produced in
the megacities fermentation farms. A fortunate find,
as he would have a ready food source for the duration
of his explorations. He set his searchBiohmBottTM
into scan, sequence, express and print modes. He then
loaded the entitys data into his BiohmBottTM with
LIKE settings added, sending it back out for more
sampling.

Turk pulled out his GrandFathers vintage mummy

sleeping bag stuffed with the soft down feathers of
a species long extinct. Printing up a hammock and
stretching out, he took out the timeworn journals
and began to read. His eyelids grew heavy and sleep
engulfed him. His dreams drifted to his GrandMother,
but not as he remembered her. She was young, vibrant,
and smiling, roaming along the cliffs above him. He
was filled with seductive thoughts of her as he felt his
GFs smile emerge on his face. In his dreams he slept
next to her in this same sleeping bag, less threadbare
and compressed.

He vaguely sensed the BiohmBottTMs return and

felt a fanning of air currents above and around him.
Delicate gusts stroked his body, folding him into
a 7-dimensional trance of simultaneous aging and
embryonic metamorphosis as the hammock seemed to
tighten snugly around him in an energetic protective
envelope of rest. That dream state consisted of a
folding of proteins, bathed in the aroma of damp fiber
Emma McCormick-Goodhart Stones of Their Own Kind 2016 #methods #postnature #extrude
Author Project Year Format Theme Action

Are shells the primordial 3D

printed exo-object-extensions,
the outcome of an incremental,
parametric rhythmic event of
extracellular secretion?

Stones
of Their Own
Kind
Stones of Their Own Kind
Project
One of the most momentous
events in the history of life was the
acquisition of skeletons.1
The animals that inhabit shells
should guide us in our researches;
they alone are the fabricators of
the shell, and the shell is only their
habitation to which they give the
form.2
I only introduced shells as an
illustration of what we meant by
mathematical spaces of possible
animals.3
Mollusca (n.): 1797, from Modern
Latin mollusca, chosen by Linnaeus
as the name of an invertebrate
order (1758), from neuter plural of
Latin molluscus thin-shelled, from
mollis soft.
Secretion (n.): 1640s, act of
secreting; 1732, that which is
secreted, from French scrtion,
from Latin secretionem a dividing,
separation, from past participle
stem of to separate, set apart.4
Are shells the primordial 3D
printed exo-object-extensions
animal productions and
biosignatures (albeit without
DNA or cells once expressed
as shell material, contra bone)
the outcome of an incremental,
parametric rhythmic event of
extracellular secretion? Both life
forms and forms of life; performed
formations, perdurable body-
becomings, choreographic objects5;
printed, imprinted, even published,
by (or literally through) molluscan
flesh. Yet Martin Lister, author
of then-authoritative Historiae
Conchyliorum, published in parts
between 1685 and 1692, held that
fossilized shells were categorically
not animal productions, but
geological phenomena: I am apt
to think there is no such matter
as Petrifying of Shells in the
business but that these ever
were, as they are at present,
lapidis sui generis (stones of their
own kind) and never part of any
animal.6
A shell is an exoskeleton formed
by calcifying organisms of the
phylum Mollusca. Shell material is
generated and maintained over the
organisms lifetime by its mantle,
specialized tissue located on the
outer portion of the body, which
secretes proteins and minerals
upwards in layers that crystallize or
calcify to varying degrees. First, a
layer of conchiolin is pumped into
what becomes the outermost shell,
followed by a prismatic layer and,
lastly, by an inner nacreous one,
together forming a continuously
operative scaffold. In gastropods,
a protoconch, or cap-like larval
shell, will metamorphose into a
teleoconch after undergoing a
180-degree twisting of the body,
known as torsion, such that its
shell coils in radial asymmetry.
Never shed, a shell expands to
accommodate its makers lifetime
bodily growth via the addition of
#methods #postnature #extrude
Format Theme Action
bands of conchiolin along the
shells outer edges, a process that
suspends itself at the lip-aperture.
That shells whorled chambers
flare, verm and spire composing
their 3D forms, when no longer
inhabited, have subsequently
been activated as ritual objects,
mineral canvases, aerophone
trumpets, prosthetic mouthpieces
and ears, hearing aids and listening
devices, might be interpreted as
a consequence of their original,
always already first edition
autobioprintings unscorable
recipes.
I was by sound, near seawall, at
ocean-stream; I dwelt alone in my
first resting place Little did I know
that I, ere or since, ever should
speak mouthless over mead-
benches.7
1 Geerat Vermeij, The Origin of Skeletons,
PALAIOS Vol. 4, No. 6 (1989): 585-589. doi:
10.2307/3514748.
2 Peter Williams cites Thomas Say, Snail
(London: Reaktion Books, 2009), p. 26.
3 Richard Dawkins, Climbing Mount
Improbable (London: Penguin Books, 2006).
4 Both entries from www.etymonline.com.
5 In his essay Choreographic Objects,
William Forsythe asks: Is it possible for
choreography to generate autonomous
expressions of its principles, a
choreographic object, without the body?
A choreographic object is not a substitute for
the body, but rather an alternative site for the
understanding of potential instigation and
action to reside. http://www.williamforsythe.
de/essay.html.
6 Peter Williams cites Martin Lister, Snail
(London: Reaktion Books, 2009), p. 79.
7 Old English riddle.
XXX
Catherine ScottXXXA Cautionary Note on the Perils of
XXX2015 #XXX #methods
#XXX#play #constrain
#XXX
Author
Author Pursuing 3D Printing as a HobbyYear Year
Project Format Format Theme Theme Action
Action
Project

Title
A Cautionary Note
on the Perils
Short description
of Pursuing 3D
Printing as a Hobby

If the thought
of your passion,
for additive
manufacturing,
being dismissed as
a hobby is
offensive, you
may well be an
Additivist.
A Cautionary Note on the Perils of Pursuing 3D Printing as a Hobby
Project
Often, 3D printed output is no more than glorified
SpirographTM. The mathematical functions represented
by seemingly impossible gyroids are the 21st Century
equivalent of the 2D hypocycloids and epicycloids
diligently transferred, to paper, via the medium of
ball-point pen and the perforated cog.
Also, 3D printing is reminiscent of the String-Art
craft so popular in the 1970s the pins set out the
parameters of the design in advance, and the string
body is applied layer by layer.
But, Spirograph and String-Art were not about the
output, they were about the experience and satisfaction
of creating, and the exploration of the potential of the
process. Much like the thrill of watching a plastic
facsimile of the design you created, or tried to copy,
growing slowly on a 3D print-bed. Your delight is
palpable and you cant wait to experience it again so
you make another, and another until you are faced
with a storage/distribution problem, (which is ironic
in the extreme as 3D printing could be the ultimate
solution to both storage and distribution problems.)
The Spirograph and String-Art creations of our
childhood were passed on to unsuspecting relatives
who, while impressed initially, were then obliged to
find some place of honor from which to display it.
History is likely to repeat itself when the pointless
knick-knacks that 3D printing devices are churning
out, with exponential rapidity, are similarly received.
As we begin to amass artifacts egested via the process
of our hobby we then begin to assign each item to
the significant life events of unlucky relatives. E.g.,
My Dad would love this for his birthday! (He wont)
or My sister would really like that for Christmas!
(NO SHE WONT!)
In 2012, craft proponent, Tanya Harrod said, At a
household level [3D Printing] will attract a sizable
percentage of hobbyists meaning that the predicted
ubiquity, of 3D printing, wont extend beyond the
professionals with access to high-end, high-cost
equipment or art schools and design departments, and
that what we can expect, at consumer level will be
little more than the pleasure-user. Her promise that
They wont follow the trajectory of home computers
or mobile phones remains entirely valid, however, the
emergence of FabLabs and the oncoming storm that
will be networked, remote, printer farms, is proving
some of her prediction wrong.
As a champion of the professional craftsperson it
can be assumed that Harrod is not using the term
hobbyist in a complimentary fashion and nor
should she.
#methods #play #constrain
Format Theme Action
Of course, not everyone thinks the term Hobbyist
is a dirty word, indeed many hobby activities are
conducted with the utmost passion and seriousness.
However, the fact remains that a hobby is defined as
a pleasurable pastime a distraction, its considered
fun and even frivolous; and, the term is ubiquitously
used to dismiss, devalue and demean especially in
the case of artistic endeavors. This lack of credibility
is what Harrod means by Hobbyist and, as such, is a
term that should only be self-appointed. If you like the
name feel free to use it.
But what if you dont? If the thought of your passion,
for additive manufacturing, being dismissed as a
hobby is offensive, you may well be an Additivist.
Additivists do not have to justify the procurement of
a 3D printer by insisting it will be an invaluable tool
for making replacement parts for obscure equipment
After all, there is no sense in making slow, expensive
and sub-standard replicas of stuff that already exists,
in our current global networked marketplace Instead
they are confident in the legitimacy of using 3D
printing to test the limits of their creative discontent.
So..which one are you?
Do you think Additive Manufacturing is a catalyst for
exploration, discovery, agitation and disruption or
do you see it as a convenient process to make free
gifts for your friends? If its the latter, perhaps the 3D
Additivist Cookbook is not for you, on the other hand,
it could be exactly what you need.
Harrod, 2012 . Rapid prototyping: the right tool for our time?,
Crafts, no.231 Jan/Feb 2012
Urs Gaudenz GT-200 2016 #fabulation #sense #detach
Author Project Year Format Theme Action

Replication of the GT-200,

the controversial remote
substance detector

GT-200

The GT200 is a controversial remote substance detector that was claimed by its manufacturer, UK-based Global
Technical Ltd, to be able to detect from a distance various substances including explosives and drugs. The GT200
was sold to a number of countries for a cost of up to 22,000 per unit, but the device has been described as little
more than divining rods. The owner of Global Technical, Gary Bolton, was sentenced to seven years in prison. This
is a replication of the original device from pictures and descriptions found online. It operates in the same way as the
GT200, using a swinging antenna to point to target material indicated via programmable cards inserted into a reader.
GT-200 #fabulation #sense #detach
Project Format Theme Action
 A Parede* Curatorial Statement 2016 #methods #outside #remesh
Author Project Year Format Theme Action
A Parede

A Parede
Curated

Curatorial
Statement

Cheat Sheet
for a Non
(or Less)
Colonialist
Speculative
Design
Curated by: List of projects:

*Pedro Oliveira and Fannie Sosa: Black BioHack

Luiza Prado Lucas Odahara: Deceleration Recipe
(A Parede) Tabita Rezaire: Peaceful Warrior
Anonymous: Breaking Down the Walls Within
 Curatorial Statement #methods #outside #remesh
Project Format Theme Action
A Parede

Despite its name, speculative and critical design has, for a long time already, greatly
Curated

disregarded, ignored, or otherwise glossed over issues of race, class and gender
privilege. This is a serious problem in a discipline that calls itself critical, and that
allegedly strives to incite discussion on how issues that emerge in the present might
unravel in a near future. In the past few years these issues have been identified,
dissected, and thoroughly analyzed to both support and antagonism within the design
community. While some claim that these criticisms greatly exaggerate the extent and
relevance of the issue, other groups in the design community have shown great interest
in fostering productive conversations about strategies for changing this stance within
the discipline.

All in all, we believe there is quite a big elephant in the room: these are, clearly, issues
that still need to be acknowledged and dealt with as serious concerns. Furthermore,
the real challenge when discussing how design (and art, for that matter) chooses
to represent the future lies well beyond representation or the danger of tropes and
tokenism. It is not enough to merely acknowledge the existence of non-Eurocentric,
non-Western realities: it is important to question the very power structures (to which
design contributes) that maintain certain ways of knowing, certain ways of living at the
center, while pushing others towards the periphery.

Unfortunately, speculative projects and publications still rely on plenty of narrow

assumptions, which continue to reinforce the status quo of colonialism and imperialism
rather than effectively challenging it. To try to make things a bit easier, we developed this
very simple and straightforward Cheat Sheet you, Speculative and/or Critical Designer,
should consult when developing new projects. This is (very) loosely based on Sandrine
Micoss-Aikins 7 Things You Can do To Make Your Art Less Racist which is a
strongly recommended read for before and after you get through this cheat sheet of ours
as well as Mara del Carmen Lamadrids Social Design Toolkit, also a mandatory read.

Cheat-Sheet for a Non (or Less) Colonialist Speculative Design

Acknowledge the Truth. This one well borrow straight from Sandrine. If you were
born in Europe, there is a good chance your country had (or has) colonies and gave (or
gives) them a very, very bad time. It is not your fault, and no, #NotAllEuropeans are like
that. We also know that the USA, though a former British colony on its own, has given
itself the task to treat other parts of the world as if its own backyard, something we call
imperialism. Indeed we all know this, but so should you it is a fact you cannot and will
not change. So acknowledge that part of your privilege comes from the very fact that
your society has built and still builds its wealth upon the disaster of others.

Check Your Facts. Ask yourself does my dystopia happen already in other invisible
(sic) places of the World? It is good to know if what would be terrible for you and your
audience isnt already reality for others. Before asking what if? ask is there?
Particularly if you consider how colonialism helped shape the power inequalities and
uneven economic relations we currently live in. (Tip: Wikipedia is a good starting point,
but be creative and dont stop there.)
 Curatorial Statement #methods #outside #remesh
Project Format Theme Action
A Parede

Am I developing more civilized, highbrow or educated solutions for

endangered places in the world? It might be that you already know the answer to
Curated

this, but double-check it. Constantly challenge your design decisions and see if they do
not reflect narrow-minded views of how aesthetics could or should be. Minimalism and
clinical asepsis are not the only aesthetically pleasant values of design.

Is my scenario/story/object somewhere elses local aspect/culture, appropriated

as to fit my own? If yes, please refer to point 2 and check if your culture/country
did not already do that a few years ago by the use of violence and other less
friendly means. (Tip: start from the basics of Cultural Appropriation. Yes, it is a very
controversial topic and there is no consensus about it. Yes, you have to read it anyway.)

Does my dystopian scenario contain the following:

Slaves or any depiction of middle-class (white) people suddenly turned into slaves;
People of Color in the role of Robots, Subaltern or others in general;
Objects coming from places that are or were colonies, whose aesthetics look invariably
recycled or kitsch.

Is my research biased by my own privileged views of how society could or

should be? Or in other terms, am I b(i)asing my research exclusively on authors
and references that come exclusively from colonialist countries? This is very
important, because as Raewyn Connell explains in her Southern Theory (2007), much
of the so-called canons of social sciences come from northern, metropolitan authors
whose work inquiries the primitiveness of the colonies.

Does my textual production contain any of the following words:
global for economic models;
neutral for cultural models;
universal for theoretical models;

In case you succeed on all of the above and will most definitely go on portraying
your dystopia, the final question is: have I consulted myself with other people,
designers or not, from other places of the world to check if this is not a
#firstworldproblem?

We strongly believe that following these simple steps may positively contribute to not
only Speculative and Critical Design projects becoming more powerful in their line of
questioning, but also avoiding the mishaps it sets itself up so boldly to criticize.

To be once again very clear, we are also not advocating that every single speculative
project should talk about, tackle or depict issues of colonialism and imperialism.
Rather, we maintain, borrowing from Walter Mignolo, that you are where you speak. If
all design is ideological, as Anthony Dunne says, do take that statement seriously.
 Fannie Sosa BioHack is Black 2016
Author Project Year
A Parede
Curated
Biohack
is Black
NEVER AGAIN applaud poems about progress
while your people die at the hands of the state
NEVER AGAIN allow people to assert a lack
of intersections between experimentation and
people of color.
experimentation is fundamentally rooted in
blackness and wounded life: they dont get to tell
you otherwise
your body is an experiment.
your memories: an experiment
your life: an experiment
every minute is an experiment in survival
everyday is an experiment toward liberation
gringpo.com
The other day I was minding my own business on
the Internet when someone1 posted an article.
Entitled, Bodyhackers are all around you, theyre
called women, its author Rose Eveleth a
producer, designer, writer and animator based
in Brooklyn who explores how humans tangle
with science and technology establishes
an analogy between her IUD and her RFID
microchip. One of them lets her control her fertility
and the other one unlocks phones and doors by
waving at them.
#methods #figures #bridge
Format Theme Action
A critique of modern
gynecology and the agency
it enables, including the
systematic erasure of Black
and Indigenous knowledges
She explains how the uterine device is never frowned
upon, but the RFID microchip implant is looked
at with suspicion, as if it was a dystopic device of
surveillance: No one has ever jolted backwards
and said, You have a what in your uterus? They
have at the news of my chip. I call them both cyborg
implants, but most people would only consider one
of them cyborgian at all. From then on, she analyses
how we think about bodyhacking as the realm
of men. A hormone releasing IUD, according to
Eveleth, is the most significant bodyhacking device
she uses, because (...)the ability to control when I
conceive is a power unheard of for thousands of
years of human history, making of her a cyborg. Yet,
she says, it is not thought about it as such because
it is not a manly technology.
problematic
(disclaimer: this is not, under any circumstances,
a critique of no ones contraceptive methods. It is
a critique, however, of modern gynecology and the
agency it enables, as well as the systematic erasure
of Black and Indigenous knowledges)
The notion of modern gynecology being the pinnacle
of fertility management is racist, erasing, colonial
and patriarchal. Womxn have been in control of
their fertility since the dawn of times. Womxn
 BioHack is Black
Project
A Parede
have been in control of their fertility much more
Curated
often, in societies that worship khunt, where khunt
epistemologies are allowed to cell divide in the
womb of a fearless Black mother. This determinist
frame of mind about fertility management as a 21st
century western scientific prowess purposefully
omits that modern gynecology (the praxis, the tools,
the protocols, the language) was born as a tool to
ensure seamless production of forced laborers, and is
intimately linked with colonialism, slavery and settler
capitalism. If we are examining how technology
and how we think about it is oppressive, it seems
ridiculous to stop at the gender reading and further
a blurry notion that biohackers have been around us
under the shape of the womxn on the right side of
the barbed wire fence safeguarded by the extractive
pharmaceutical complex, that have an IUD.
The invention of modern gynecology, such as
practiced today in mainstream medical spaces,
rests on the thorough study of how to make Black
and indigenous womxn produce and reproduce in
captivity, be it physical and/or institutional. Sexual
and reproductive trauma, intentionally caused by the
settler, was then dissected, explained and validated
scientifically in medical plantations. To a great
extent, modern gynecology still exists traumatically
embedded in public hospitals, reservations, free
clinics, prisons, detention camps, schools, etc.
Whether it is forced sterilization, forced STD/
STI inoculation, non consensual drug testing,
criminalization of abortion, discriminatory laws,
and inadequate social protection, gynecological
violence still regulates Black and Indigenous
womxns bodies. This traumatic inheritance
also regulates motherhood on a larger level, and
the whole conceptualization of the womb as an
inherently painful space. Pain is deemed normal
through the lens of modern gynecology, be it during
the menses, birthing, going through menopause, and
all over an active sexual life.
Stating that the unseen bodyhackers are the womxn
that have a copper IUD is a way of not so subtly
erasing the history of gynecological torture and
sexual warfare on Black and indigenous womxn.
It is also an unforgivable act of erasure of the long
herstory of fertility management, contraceptive, and
abortive knowledge Black and Indigenous womxn
have protected and transmitted from the margins.
These particular knowledges have been purposefully
burnt, its recipients persecuted and hunted down, for
economic reasons: an autonomous womxn in control
of her fertility does not a good slave make. If we
#methods #figures #bridge
Format Theme Action
are talking about cyborg capacities and biohackers,
we could for example talk about Black womxn
forced to birth yearly offspring for 20 years, birthing
in the field and continuing to work on the field,
still dancing to drums and receiving orixs that
safeguarded their health. How did they survive?
And how did they not? We can mention Mammies
that lived until 125 years old to tell the story of how
they protected their 30 plus year forcibly extracted
milk: when breast feeding the masters children
they called upon loa to slow down the oxytocin
and prolactin release , so coming back to their own
lactating children they still had some of the thick
milk that was otherwise destined to strengthen
white babies2.
Can we talk about the descendants of the settlers
in places of power, fed with Black breast milk, as a
form of biohacking too? Can we talk about Harriet
Tubman and her invisibility cloak, or how she used
her Black womxn embodiment deemed illiterate,
submissive, and disabled serving at the masters
table, to develop a cross-state abolitionist network?
Can we discuss Blackness as a superpower? And
can we formulate why the beyond-human character
popularized for Black narratives is a less-than-
human threatening personhood, the Zombie? Why
is the cyborg white? Aint I a superhuman?
Moving on and around, lets talk about the use
of phytohormones to hack gender by non binary
indigeneity. We could be talking about the practice
of burying the placenta/mxnstrual blood near the
gardens of the village. The DNA contained in
the endometrial tissue is absorbed by the ground,
making several plants customize their properties
to respond to the needs of this DNA. This ensures
food sovereignty and unites all the members of the
community on a cellular level as they eat the food
customized to best feed the mothers of the clan.
Maybe also lets mention how mxnstruating people
living in physical proximity synchronize their cycles?
What about the womb as a bodyhacking technology?
Can this lead us to talk about the practice of co-
mothering by mutualizing breast-milk amongst the
clans lactating children as a social bonding rite?
The term sisterhood becomes much more concrete
when you have received care and breast milk from
several people, building empathetic pathways
transversally across the community. Thinking
about this could lead us to remember a consensual
Mammie: sharing her breast milk as a way to build
kinship and alliances.
 BioHack is Black #methods #figures #bridge
Project Format Theme Action
A Parede

Let me remind you, Rose Eveleth from Brooklyn, 1 Prolactin stimulates milk production, whereas oxytocin
Curated

initiates labor and triggers milk ejection during nursing. These

that before your ancestors went through a mutation
that made them white, there were matriarchs that
build their progeny, or their lack of, in consent from
the womb to their graves. They consented sexual
encounters with a partner of their choice, they asked
their community and themselves if now was the right
time to bring forth life, and then they nested the
consensual fetus in their pleasurable womb, until
it came out consensually orgasmically to further
a life based on thriving, in symbiosis with nature.
same molecules, interacting with dopamine, also activate
specific neural pathways to motivate parents to nurture, bond
with, and protect their offspring. Parenting in turn shapes
the neural development of the empathetic infant brain. - The
biology of mammalian parenting and its effect on offspring
social development, James K. Rilling and Larry J. Young (2014)
2 All I knew was I had to get my milk to my baby girl. Nobody was
going to nurse her like me. Nobody was going to nurse her like
me. Nobody was going to get it to her fast enough, or take it
away when she had enough and didnt know yet.Beloved, Toni
Morrison

Do not try to fool yourself and us telling us that your

IUD brings you freedom, adopting yet another
level of colonial imagination to how we understand
khunt. Your IUD was built on our back. You have a
dystopian surveillance device sunk in your womb.
The analogy between your RFID microchip and
your hormone releasing IUD is sadly accurate.
They are both cyborgian. But this article misses
an entire and very important point: they are both
surveillance devices, built on the back of Black
and Indigenous womxn, serving a (re)productive
capitalist agenda, and constituting an extractive
cyborg body that I reject.

This particular use of the cyborgian status by the

colonial imagination, disengaged from any racial/
colonial/climate justice critical reading, is part of
the oppressive epistemologies that reinforce white
supremacist patriarchy. You cannot address cyborg as
male without addressing it as white, cis-gender, able
and extractive. Cyborg personhood was born from
a critical impulse, as a way to rethink rights based
on personhood rather than humanity. This critical
impulse of enlarging who gets to be considered a
person, also present in animal rights, companion
species manifestos, dis/ability studies, and queer
theory, was fueled, modeled and led by Black and
Indigenous womxns organized resistance, yet we
never see cyborgs as a Black or Indigenous womxn,
neuro-atypical folx, nonhuman people, etc. Weather
cyborg personhood is presented as something
critical or uncritical, it is always dystopian when
it is not conceived intersectionally all the way to
inter-species alliances. The so called post-colonial,
post racial, gentrifying, RFID microchip, hormone
releasing IUD carrying human body who is cut
from the cycles is not the body I aspire to bring
forth. Its not the body of progress. Its not the body
of freedom. Its not the body of choice. Its not the
default body. Its not the cyborg body that I imagine
when talking about Black futurities. And it certainly
is not the cyborg body that I inherited.
 Lucas Odahara Deceleration Recipe 2016 #recipe #alchemy #smooth
Author Project Year Format Theme Action
A Parede
A powerful deceleration
mixture of dough and
technobody. Eat while
Curated

still warm

Deceleration
Recipe

...we teach Make sure your computer display wont sleep. On the first 20 minutes of the
deceleration. and process your fingers wont be able to touch screens or track pads at least not in a
thats just your responsive way. So you may adjust your display configurations by going to System
bodys ability to Preferences, Energy Saver, and set the amount of time after which both your
not only accelerate computer and display would sleep. Set it for Never.
itself but we gotta
be able to stop. we Please check if you have all the ingredients. If not, make a screenshot of this text
need to be able to on your phone and go to the closest grocery store. You may also consider taking
decelerate. the chance and knocking on your neighbors door. The handsome one that smiles
at you when you see him/her at the hall, the one that holds the door for you when
seeing you clumsily arriving with a bike, and the same one that does not judge you
when he/she meets you on early mornings, as he/she is going out for a run and
you are obviously coming back home, drunk your handsome neighbor smiles at
you on the same handsome way as always. If that neighbor does not exist, go to
the closest grocery store. Before doing that, make sure you leave your computer
charging. Mobility along the process is essential.
Delta V and delta
t: Our velocity has With all the ingredients and your sleepless computer ready, consider carefully
both magnitude what you will have on the screen during the first part of the process. As you will
and direction. So later notice, you will gradually grow awareness of your own body when mixing the
this implies that dough. This will happen slowly, when you are reminded of your physical relation to
acceleration too the information on your displays. It may happen, for instance, when you remember
has both magnitude that talk on YouTube your friend recommended to you and realized that you could
and direction. So have used the time you are mixing the dough to watch it, or when you thought
whenever we specify this would be a great time to FaceTime with your mom and catch up (nothing
our numerical value would make her happier than doing that while watching you bake). All these
for acceleration, uncontrollably accelerated thoughts will invade your mind, and they will be taken
we also have to directly to your fingers, which, covered with the gooey mixture of deceleration, will
specify in which remind you of the temporary incapability of your body to communicate with the
direction our object computer, the phone, or the tablet. You will be forced to decelerate. And you cant
is accelerating. stop mixing the dough.
 Deceleration Recipe #recipe #alchemy #smooth
Project Format Theme Action
A Parede

Preparation
Curated

Take a bowl, fill it with half the amount of lukewarm water and pour in the yeast.
Let it rest for 8 minutes, while you prepare another bowl with the flour, salt, and
sugar. Use these minutes also to make sure both the recipe and any adjacent
window is visible on your display. And make sure that you can scroll the recipe
for the next hours by using only the up and down arrows. Tip: if you updated your
system recently (Mac users), you may click and hold on the enlargement button of
the browser in which the recipe is. This will split the screen in two, and then you
can decide what will share the screen with the recipe. I put together this YouTube
playlist for your adjacent window.

Now mix the yeast solution together with the flour and slowly stir it. Gradually add
the rest of the water, and mix it with your hands. Now during this time of physical
distance with your gadgets, youll be steadily getting slower. Mix it for twenty
minutes. Or better yet, make it two hours. Deceleration does not bake easily if not
properly mixed. You will realize that now that you are a body, with your fingers full
of deceleration mix, you are not able anymore to make contact with your gadgets,
as I warned you before. Dont worry, one is never fully aware of the impact of this
amputation. Its like the last time youve been to the airport, when passing through
security control, after placing your bag on the scanning belt, taking your computer
out, emptying your pockets inside the tray together with the little plastic bag full of
your precious 100ml liquids, so that you could pass through the deceleration portal,
as a new person, as a body. Because thats what you are being asked there. To
turn into a body again. Deceleration does not need much else. You drink all water
from your bottle, before passing through the gates. Liquids are not allowed. You
are liquid. Keep on mixing the dough, and dont worry, the deceleration mix will
eventually stick out of your fingers and have an existence of its own. You may have
your body back after you are reminded of its existence.

Keep on mixing. Last week I flew to Brussels. The bombing at the airport had
happened exactly six weeks before, and the place was now open and running with
some structural changes for those that depart from there. Apart from the heavy
presence of the army around the facilities of the airport, and the military vehicles
sleeping in the parking lot behind covered plastic panels, passengers must walk
through a labyrinth of provisory plastic tents, filled with concrete walls and attentive
using my body body scanning. Its a long process the deceleration of the European capital. It
weight to change starts with an email from the airport requesting passengers to arrive three hours
directions wherever before departure, followed by hours in queues, controlled distance from gadgets
I wanna go and special attention to water bearing and consumption. Again, I remind you that
the balance between being well hydrated and keeping the distance from the new
provisory toilets is of extreme importance. You are less passive than you imagine
in this ritual. When decisions are being made in your behalf, when recipes are
being installed in your every movement, you are responsible for focusing on your
body. Will you throw away your water bottle before passing through the scan, or
will you drink it all at once? The deceleration mix is all about liquid balance. You
may add flour and water to the mix as much as you can, as long as the balance is
achieved, and your body is its best witness. A balance of components preventing
complete stagnation and also uncontrollable flow. How many concrete walls may fit
in a plastic tent, in order to decelerate but maintain constant movement?

While waiting in queue for the scanning at the airport in Brussels and running
through a list in my mind of procedures Id be soon asked to perform, focusing on
my pockets, my water consumption, my skin color, the size of my belts buckle, my
passport, slowly becoming a body, it was hard not to think about the possibility of a
bomb, and how that, even more effective than the scanning ritual, would decelerate
the whole queue. As bodies in danger, slowly trying to be sure your body is intact,
we would have to look for new directions. The abrupt interruption of life would force
it to be reprogrammed, decelerated, recalculated.
 Deceleration Recipe #recipe #alchemy #smooth
Project Format Theme Action
A Parede

acceleration A bomb must happen where acceleration can be most affected. As a mechanic drill
Curated

simply tell us how to change directions abruptly, if the environment around it is not physically ready
quickly or slowly to follow the deceleration process, injuries can be fatal complete stagnation is
an objects velocity possible, and positive acceleration may take longer than expected. The intention
is changing. () of the bomb was never to stop, just like the airports control isnt. They are different
deceleration is when drills of deceleration aiming towards flow in movement, but towards a new
the acceleration is direction. And on these traumatic moments, all we have is our bodies, going from
negative. Berlin to Mallorca, from home to being deported back home, going from liberal to
conservative, from democracy to dictatorship, from my control to your control.

After youve met the ideal water balance of the dough, when its becoming a body
The important of its own, while at the same time releasing yours, you must let it rest. Cover the
concept that we are bowl with a kitchen towel and let deceleration grow. Almost unnoticeably it will
gonna go right now grow twice as big. One can usually hardly tell the consequences of deceleration at
is deceleration. This first, its intentions. The new directions it takes when released in a new protected
is very important environment as a body on its own and it starts again to accelerate. Feeding from
whether you are the air around it, it will take everything for its own purposes until its structure
dealing here with has been formed. Its up to the one that engages on the deceleration process to
seniors, youths, understand the correct time for its perpetuation. Now it is not a question of water
professional anymore, but once you pass through the gates and the aircraft takes off, when air
athletes, recreation is all there is, the amount of it that is taken will be one of the premises to define the
athletes, 9 to 5 new destination, the conditions of landing, and your own new shape. Dont forget to
workers, you breathe.
name it, everybody
needs to know Preheat the oven at 150 degrees Celsius. Accelerating again should be done
how to decelerate, carefully. Place the dough in the oven. You may check your emails again, but keep
change directions in mind that you are still a body and cant leave the house before the deceleration
throughout their is complete. You are responsible for deciding when it is complete. Maybe you get
day, sports or it wrong at first, it takes experience. But keep in mind that any kind of deceleration
activities whatever recipe is traumatic. Changing direction is not easy, but the history of baking proves
it may be. So here it must happen. Keep practicing, maybe you grow better judgment.
is a great drill to
actually work on Eat while still warm.
just that.

Quotes from:
Joan Roth. Deceleration Mechanics Drills HFPN Health & Fitness Provider Network
The more you can AK LECTURES. Average Acceleration and Deceleration
Jamie Oliver. Super-Food Protein Loaf / F2 Freestylers & Jamie Oliver
fill your body with Coach PJ Nestler. Deceleration Drills
the goodness, like Ultimate Sandbag. Improve Functional Fitness with Deceleration Strength
StormChasingVideo. Airport Security Footage September 2006. Minneapolis International Airport
just the quicker strenghtspeedagility. Explosive Change of Direction Progression / ACL Injury Prevention
youre gonna repair Joe Bonyai. Explosive Change of Direction and ACL Injury Prevention.wmv
(Youtube Playlist Deceleration, by Lucas Odahara)
after exercise, the
more astute you
gonna be in fast
reactions, your
muscles and your
bones density will
be at optimal levels
 Tabita Rezaire Peaceful Warrior 2016 #recipe #alchemy #remesh
Author Project Year Format Theme Action
A Parede
A decolonial self-care-
preaching tutorial urging
people of color to connect
Curated

with their ancestral

knowledge and traditional
philosophical wisdom

Peaceful
Warrior

From Kemetic yoga, meditation and womb

movements to a decolonial diet, Peaceful Warrior
provides survival tools to heal our traumatic genetic
memory. This radical self love aims to build a spiritual
community for a more efficient struggle.
Ankh Udja Seneb.

Welcome into my world, a world where we are not

affected scared nor hurt. Where we do not care
How
to about white supremacy, homophobia, transphobia,
fatphobia, misogyny, patriarchy, ableism, ageism
where all those subtle institutionalized and pervasive
bec

oppressions do not matter.

ome
a
 ome
pe
Peaceful Warrior #recipe #alchemy #remesh

a
acef
Project Format Theme Action
A Parede
ul

wa
Curated

r r io
r?
* Decolonial self care *
We shall invoke the power of the sacred serpent and
connect with our ancestral knowledge the serpent
as a symbol of fertility, rebirth, guardianship, poison or
healing, vengeance and wisdom.

* Kemetic Yoga *
Practice Kemetic yoga, the African spiritual healing
and regenerative technology given by our ancestors
from Ancient Egypt.

* Meditation *
Meditate and train your mind to reach a higher state
of consciousness to access hidden pluridimentional
realms. Breath deep Allowing for a metamorphosis
from an angry warrior to a peaceful warrior.

* Womb power *
Release your yonic power through womb movements
and unapologetic pride.
Pussy booty magic

* Decolonial diet *
Decolonize your diet. Food is medicine for your mind
body and spirit, it is a spiritual connection to our
histories, ancestors and land.
Bless the earth for plant based healing.

* Radical self love *

Put on your power outfit and shine Bright like a
diamond. Im feeling myself.

Holistic Healing
Qtipoc love

Peaceful Warrior Video

 Anonymous Breaking Down the Walls Within
Author Project
A Parede
Breaking
Curated
down the
walls within
We found the instructions on a blog.
We used:
1 glass jar
1 rubber bathtub/sink stopper or a
metal screw-on lid that fits in the jar
1 syringe
1 one way aquarium valve
1,5 meter of plastic aquarium tubing
caulk
speculum
1 flexible plastic cannula (the thin
plastic tube found on spray bottles)
x-acto knife
The Unborn is a human being that has been
conceived, but not has yet been born. The Unborn
holds full personhood rights. The concept of the
Unborn also includes human beings conceived
in vitro, even before transference to a womans
uterus.
We started by preparing the jar: fitting the rubber
stopper, then carving two holes on each side with the
x-acto knife. The holes must be just large enough for
the tubing to fit; I carved them by touching the tip of
the knife to the stopper and then twisting the knife
while applying some pressure. We cut two sections of
tubing around 50 cm in length and fitted them into the
openings. We applied caulk to the openings to make
sure that there wouldnt be any air going into the jar.
A woman who provokes an abortion on herself
or who consents that others provoke it shall be
punished with one to three years of imprisonment.
We fitted the one-way valve to one of the pieces
of tubing. As the blogger said, you must mind the
direction of the valve. Theres usually an arrow in
2016 #toolkit #resistance #bridge
Year Format Theme Action
DIY abortion kit
the valve pointing to the direction in which the liquid
will flow. We couldnt find the arrow in ours, so we
just blew through it to see in which direction did the
air flow. In our final object, we want the liquid to flow
towards the jar.
We placed one more short section of tubing (10 cm is
enough) on the other end of the valve and then fitted
the spray bottle cannula on that end.
We finished the object by fitting the syringe into the
other piece of tubing coming out of the jar.
To induce, to help or to instigate a pregnant woman
to practice abortion, or offering any service for that
purpose, shall be punished with six months to two
years of imprisonment.
We wanted to reclaim something that was ours
but had been stolen. We wanted to write our own
Constitution, to break down walls within our bodies.
Walls that prevented us from accessing those
recesses, walls that made us incomplete.
Those who sell or provide, even if free of charge,
a substance or object designed to provoke an
abortion shall be punished with six months to two
years of imprisonment. The same punishment
applies to those who instruct or guide a pregnant
woman on how to perform an abortion.
Those who announce a process, substance
or object destined to provoke an abortion shall
be punished with six months to two years of
imprisonment.
There could be complications, of course. We needed
to be careful not only with our bodies when trying
something like this, but also with whom we shared this
information with. We could get arrested, prosecuted,
 Breaking Down the Walls Within #toolkit #resistance #bridge
Project Format Theme Action
A Parede

and imprisoned. We wanted to understand how to do

Curated

this in order to share this knowledge with others, but

this is exactly what could land us in jail. There could
be informants, undercover police, Id seen it happen.
We couldnt even give out information about this
openly; this could also land us in prison.

Healthcare professionals are not be obligated, in

any context or case, to prescribe, administer, or
offer information about a procedure or medication
that they consider abortifacient.

We couldnt ask around, maybe go to a trusted doctor

and casually wonder about how this procedure is
performed. It had to be absolutely hushed. Only those
directly involved could know.

Decree 463/2018
The commercialization of plastic tubing, caulk,
hydraulic valves, syringes and other materials used
to build abortive devices is restricted to licensed
stores. Purchase of these items is restricted to
registered parties.
 Anonymous, Emilia Yang DIY / DIWO Transgressive 2016 #methods #resistance #bridge
and Biayna Bogosian Abortive Methods Year Format Theme Action
Between Author Project

DIY/DIWO
Curated

TRANSGRESSIVE
ABORTIVE
METHODS

A Q&A BETWEEN
the PROJECTS
Breaking
Down the
Walls within
and Marias
Clandestinas
 DIY / DIWO Transgressive Abortive Methods
Project
Between
Motivations and inspirations:
Curated
Marias Clandestinas: Our main
motivation stems from the fact that we
come from countries where there is a
wide spectrum of legality and access
to abortion. In some places even it
is legal, access is so limited that it is
almost as if it were illegal. Overall,
motherhood of Latin American women
and women in general, often occurs in
contexts of poverty and marginalization,
while people who have money are able
to buy reproductive health options. We
also see a wave of conservative politics
everywhere that are using technology
to advance their agenda (for example,
the pro-life activism 3D printed fetus)1.
We were also deeply inspired by the
Jane Collective who were a group
of women in the 1960s that created
a network of underground abortion
services, as well as the GynePunks
who are currently assembling an
arsenal of open-source tools for DIY
gynecological diagnosis.
Breaking Down the Walls Within: for me
its really interesting to think about how
the spectrum of legality for abortion is so
nuanced from places where late-term
abortion is permitted, to places where
even miscarriages are investigated and
everything in between. I come from a
country where abortion is only permitted
in a handful of very specific cases: rape,
risk of death for the parent, or in case
the fetus suffers from anencephaly (a
serious malformation that causes death
within hours of birth). Currently there are
a number of bills under consideration in
the National Congress that, if passed,
would overturn even these small victories.
One of these bills determines that life
begins at conception; this would not only
completely abolish abortion rights: it
#methods #resistance #bridge
Format Theme Action
would possibly make things like the IUD
or the morning after pill illegal. This is
just a single example of what is going on
throughout the world in terms of abortion
rights. Sometimes its difficult, if you live in
a place where abortion is legal, to realize
how many people dont have access to
this basic human right.
Women bodies (control and choice):
MC: We believe that the modern
woman should have all the right to
make decisions about her own health,
body, sexuality and reproductive life,
without fear, coercion, violence or
discrimination. But, all over the world
womens freedom to make these
decisions is controlled by the state,
medical professionals, and families.
Criminal law and punitive sanctions are
used by these institutions to control
such choices. Anti-abortion laws are
a key form of maintaining maternity
as the thing that defines women.
Historically, women have fought to
regain power over their bodies through
collective action; but their efforts have
been effectively pushed back, leading
them to seek more radical alternatives.
BDWW: Motherhood, particularly in
patriarchal and western/ized societies,
tends to be seen as the sole responsibility
of women, a solitary endeavor; sometimes
its even referred to as a punishment for
a woman who has dared to have sex.
In contrast, some societies consider the
rearing of children to be an endeavor
for which the whole community is
responsible. This approach distributes a
labor that is otherwise (that is, in western/
ized societies) perceived as pivotal to
1 See the 3D-printed fetuses that could perhaps change
the abortion debate
 DIY / DIWO Transgressive Abortive Methods
Project
Between
defining the social position of woman. Of
Curated
course, its easy to overly simplify what is
a much more complex issue, and assume
that the distribution of this labor solves the
problem of patriarchy and sexism. It
doesnt, of course, not by itself. However,
it is a key part of the problem, and one
that also needs to be addressed. I see
this issue as very connected to abortion
rights: it is essential that people born with
uteruses cease to be perceived as
walking incubators in order for societies to
be able to approach abortion from a more
honest perspective.
Abortion and #additivism:
MC: With our proposal we considered
the implications of thinking of abortion
as an additive process (small and
incremental steps towards self-
sufficiency) which could be tackled
in different ways. Similar to many
additivists, we are working with
devices/practices that are challenging
techno-scientific and socio-political
boundaries. We want to use the
affordance of 3D files to travel without
respecting borders, and penetrate parts
of the world that others forms would
not be able as well as circumventing
certain laws that for us should not exist
because they are based on patriarchal
or religious notions.
BDWW: While researching how abortion
and contraception are performed outside
of the contemporary scientific/medical
establishment, one thing that becomes
clear is that these are things that humanity
has always needed. All societies have
had to develop their own forms of fertility
control using what was available; some
of these societies were more successful,
some less. Some methods were (and
are) safer, some are riskier. Abortion can
#methods #resistance #bridge
Format Theme Action
be, as they said, understood as additive
in nature, in a process that mirrors the
ways in which indigenous knowledge is
constructed: through an infinite number of
small steps, through knowledge passed
down by generations.
Safety and care:
MC: Physical safety and arguments
about the morality of abortion have
been the main scare tactic for
the opponents of the practice. 3D
printing is part of DIY (Do It Yourself)
culture that promotes self-sufficiency.
However, instead of the DIY methods,
we support the idea of DIWO (Do it
with Others) abortive methods because
we consider possible complications
and the intense process that it can be.
This methods highlight the importance
of supportive networks, shared
knowledge and resources. We also
proposed that the speculum and the
vacuum would become sensible i.e.
smart objects with displays that aid the
process according to the data retrieved
by the object.
BDWW: My piece is about putting
together a contraption that allows you to
perform an abortion with things you can
easily find in any department store. It is
not intended as a set of instructions, or
a recipe, on how to perform the abortion
itself: it is a reflection about how, even
in places where the law prevents you
from accessing an abortion, it is possible
to figure out ways to circumvent these
restrictive laws. It also begs the question:
how far are legislators willing to go in
order to restrict our right to determine what
happens to our bodies? Even our freedom
to speak about it, to offer information
about abortion is restricted; will they start
banning household items now, too?
 DIY / DIWO Transgressive Abortive Methods
Project
Between
Most anti-abortion legislation penalize
Curated
the doctors and women who perform
it. How do we protect those involved?
MC: In our proposal we are tapping into
already existing incognito networks that
have been operating under the radar
for years. We are also adopting the
main principle of these hidden networks
which is maintaining the anonymity of
everyone involved. Furthermore, the
malleable nature of materials utilized
in the process of 3D suggest ways of
disposing and recycling the materials
used in the abortion, all which would
prevent tracing any identities.
BDWW: As they said, there are
underground networks in several places
that help people in need of abortions.
Sadly, those working within these
networks operate at their own risk; getting
arrested is a constant and real possibility.
This is why trust and anonymity are so
important for these networks; this is
why, when communicating over the web,
a specific kind of lingo is sometimes
used to refer to abortion and related
procedures; this is why we create our
own channels to communicate; this is
why, sadly, conversations about this need
to be private.
Material resources and feasibility:
MC: The reality is that abortion laws
are the most strict in countries that are
also economically challenged. What
we would like to think is that those who
are interested in the practice can learn
to use the printer and their technical
knowledge becomes the source of
power. Therefore, in our proposal we
include the instructions to build a DIY
3D printer as part of the resources.
The other option is to rely on online
#methods #resistance #bridge
Format Theme Action
3D printing services that connect
individuals to a network of 3D printers
with experts to overcome the lack of
technological and material resources of
their environment.
BDWW: This is a very immediate issue,
and it is why I decided to attempt building
the device from things that can be found
in department stores. It is not the ultimate,
nor perfect, answer to the lack of access
to abortion; as I said before, my piece
is meant as a demonstration that it is
possible to work around restrictive laws
with the intent to, ultimately, change them.
The affordance of speculation:
MC: We believe that we are engaging
in a practice that requires freedom
and privilege. We acknowledge our
privilege as researchers/designers/
artists but see ourselves as allies
to million of women who have to go
through this process. We aim to design
in an informed manner, taking into
consideration real situations, people
and practices that make our proposal
grounded in a social reality. We see
speculation as an opportunity to
dream possible solutions for real world
scenarios and push the boundaries of
current ideologies and practices.
BDWW: Many speculative proposals
and scenarios speak from a position of
privilege, to a position of privilege, through
privileged means and in privileged
spaces. In speculating about ways to
break or circumvent restrictive laws, we
can imagine how things might play out,
what kinds of resistance strategies might
emerge as responses to unfair systems.
 Browntourage* Curatorial Statement 2016 #methods #outside #remesh
Author Project Year Format Theme Action
Browntourage

Browntourage
Curated

Curatorial
Statement

Subalternate
Realities

Curated by: List of projects:

*Hawa Arsala and Emilia Yang and Biayna Bogosian: Marias Clandestinas
Tonia Beglari Lishan Amde: The Ring
(Browntourage) Shushan Tesfuzigta: Women of Medri Bahri
Symrin Chawla: BLOOD BATH
Sofa Crdova: Hydrodynamic Vessels Production Catalog
 Curatorial Statement #methods #outside #remesh
Project Format Theme Action
Browntourage

Design does not exist in a vacuum. A designer conceptualizes solutions for a specific
time, place, and, most importantly, lifestyle. Subalternate Realities focuses on post-
colonial, non-western, queer, and/or feminist frameworks of additivist production.
Curated

With the goal of centering marginalized lifestyles, Browntourage prompted artists

from radical backgrounds to take on the role of industrial designer and imagine how
a specific communities outside of the mainstream would function within a specific
speculative future. Each artist designed an artifact that the community would use
in said future. Presented through archival media from the future world itself, the
final works featured in Subalternate Realities raise a wide array of issues regarding
accessibility, sustainability, pleasure, and biopolitics. By tapping into the subaltern
consciousness to layer new realities, we hope to manifest a history from below where
#additivism engages the critical imagination.
 Emilia Yang and Biayna Bogosian Marias Clandestinas 2016 #toolkit #resistance #bridge
Author Project Year Format Theme Action
Browntourage
Proposals for open source 3D
printable abortion kits
Curated

CLANDESTINE DIY (WITH OTHERS) ABORTION KITS

IN THE FUTURE THERE WILL BE CHOICE...

ILL
ABORTION BY COUNTRIES IN 2016 EG
A
Other factors: safety,

L
accessability, religion,
social restrictions
IONED
ONDIT
C

ABORTION METHODS LE
GA
L
AL
ERB
H

rm
Te
cy
n an
P reg
MEDICAL (PILLS)

Cost
M

UU
VAC
LE
SIB
SEN

Success rate
0 50 100 i
 Marias Clandestinas #toolkit #resistance #bridge
Project Format Theme Action
Browntourage
Curated

3D PRINTER
This file includes the
fabrication material for
the 3D printer
- 3D Printer
- Sensible Speculum
- Sensible Vacuum
- Recycling Methods

SENSIBLE SPECULUM
Interface displays dilation,
temperature, pulse, blood
pressure, and suggested
cannula sizes. File
- Information includes speculum LCD
- Tutorials screen & circuit board.
- Cases & FAQ

SENSIBLE VACUUM
Interface displays amount
of removed blood accord-
ing to data input. File
- Your network includes: Vacuum, cannula
- Support groups (4-12 mm), circuit board,
- Other Collectives LCD screen & adaptor for
- Volunteer cannula.

All products are sensible, free, safe, effective, portable, easy to use, reusable, and quiet
***Soon to come: 3D printed IUDs (Intra Uterine Contraceptive Devices) and DIY ultrasounds***
 Lishan Amde The Ring 2016 #device #figures #replace
Author Project Year Format Theme Action
Browntourage
Artifact to replace wedding
rings for non-hierarchical,
polyamorous, queer
relationships among
unmarried individuals (both
Curated

humans and non-humans)

the Ring
 The Ring #device #figures #replace
Project Format Theme Action
Browntourage
Curated
 The Ring #device #figures #replace
Project Format Theme Action
Browntourage
Curated
 The Ring #device #figures #replace
Project Format Theme Action
Browntourage
Curated
 Shushan Tesfuzigta Women of Medri Bahri 2016 #fabulation #futures #extrude
Author Project Year Format Theme Action
Browntourage
Speculative narrative about
Medri Bahri
Curated

Women of
Medri Bahri
Authored by Shushana Negisti, 2023 Eco-Feminist,
Historian, Afro-Futurist Designer, Keyderati

Medri Bahri (formerly Eritrea, which was

formerly Medri Bahri) a utopian land
for women by women. Once coined the
North Korea of Africa, Medri Bahri is now
a leading example of how technology,
craft, and design can be used to catapult
societies into an equitable and just
future. What happened when Medri Bahri
women were given economic power?
Medri Bahrian women responsibly
decided how their culture was produced,
exported, circulated. Thus beginning the
true Golden Age of Eritrea.
 Women of Medri Bahri
Project
Browntourage
Curated
Boon Ab Semai Festival, 2016
On May 24, 2016, those who stifled the
potential of this ancient city by the sea were
sent into the sky on state of the art space
pod. Fueled by boiling Medri Bahri coffee
brewed in traditional coffee pots (Jebenas)
passengers were accompanied with a
lifetime supply of audiobooks on The State
of Eritrea 330AD 2013AD & Injera to keep
them bloated for the rest of their sorry lives.
For the entire day, Medri Bahrian women
filled the streets singing, dancing, and
throwing popcorn in celebration.
Dekemhare Center for the
Advancement of Craft & Design, 2018
The Dekemhare Center for the Advancement
of Craft and Design (DCACD) is credited
for bringing in innovative designers/
architects from around the world to create
and prototype products and systems that
instrument freedom. Giving the Medri Bahri
people the tools to empower themselves.
The center also launched a sister center
in the Port of Massawa to develop the
potential of using salt as building material
for architecture. Inspired by the 3D printing
company Emerging Objects in Oakland,
California and the traditional use of coral
as natural cooling system, the Massawa
#fabulation #futures #extrude
Format Theme Action
community began an architectural
restoration project to clean up the buildings
that were damaged during the Eritrean War
for Independence.
Another composite material the DCACD
made recipes for used coffee grinds. Which
was used to replace traditional ceramic
coffee cups that were being made in China.
Linking the Medri Bahri coffee ceremony to
regenerative design.
Another notable recipe used bio waste
from the Teff fields and all recipes can be
purchased at local markets.
Medri Bahri Conference, 2023
Today in 2023, thirty years after Medri Bahri
was declared an official country by the
United Nations, the capital city of Asmara
is planning to host the first conference of
its kind celebrating the accomplishments of
Medri Bahrian feminist intellectuals. Keynote
speakers including myself- afro-futurist
designer Shushana Negisti, activist Meron
Estafanos, and film producer Zeudi Araya,
and film producer Zeudi Araya will
be attending.
 Symrin Chawla BLOOD BATH 2016 #device #sense #smooth
Author Project Year Format Theme Action
Browntourage
Customized soap-dildo for
one time use
Curated
 BLOOD BATH #device #sense #smooth
Project Format Theme Action
Browntourage
Curated
 BLOOD BATH #device #sense #smooth
Project Format Theme Action
Browntourage
Curated
 Sofa Crdova Catalogo de Produccin de Naves 2016 #fabulation #outside #detach
Author Hidrodinamicas / Hydrodynamic Year Format Theme Action
Browntourage Vessels Production Catalog
Project Polycarbonate canoa to get
around in a submerged world

Catalogo de
Curated

Produccin
de Naves
Hidrodinamicas
/Hydrodynamic
Vessels
Production
Catalog
 Hydrodynamic Vessels Production Catalog #fabulation #outside #detach
Project Format Theme Action
Browntourage
Curated
XXX Hanna XXX
Julian New Blood: The 21st Century Manifesto
XXX 2016 #XXX #outside #XXX
#methods#XXX #remesh
Author
Author Project
Project Year Year FormatFormat Theme
Theme Action
Action

TitleBlood:
New
The 21ST Century
Short description
Manifesto

it is hard to
imagine a manifesto
that is not
simultaneously
destructive,
that does not
leave behind
critical ruins of
some sort.
New Blood: The 21st Century Manifesto
Project
A Preamble Followed by a Few Tenets
I stayed up all night me, myself and I writing this
essay under fluorescent lamps of filigreed aluminum
As Martin Puchner observed in his book Poetry of the
Revolution (2005), there have been repeated surges of
manifesto writing since the late nineteenth century. I
agree with Puchners claim, specifically in the case of
the manifesto but also more broadly, that the avant-
garde remains alive and well not confined to an
historical period. In fact I would argue that the present
decade has seen an upswing in manifesto writing,
and that since the second-wave avant-garde of the
1960s there has gradually evolved a new post-media
incarnation of the genre. This renaissance is aided on
one hand by a renewed spirit of activism and political
engagement, in art and elsewhere, since 2008, and on
the other with the spread of the Internet, particularly
social media, into every corner of our lives meme
culture being a rich environment for the manifesto.
In October 2008, the very moment when the
devastating extent of the financial crisis was being
revealed, a Manifesto Marathon took place at the
Serpentine Gallery in London. The aim of the event
conceived by Hans Ulrich Obrist and subtitled
Manifestos for the 21st Century was to address
a moment of difficulty, a season of scarcity for the
manifesto. Everyone was there, from to Brian Eno to
Rem Koolhaas to Yoko Ono.
As fate would have it, however, it was at that very
moment that the fortunes of the genre improved.
This was due to an unlikely confluence of factors:
the Manifesto Marathon coincided with scholarly
activity, in the form of publications and exhibitions,
marking the centenary of Italian Futurism (followed
by a host of others, like this years Dada centenary);
social media was rapidly gaining pace; the financial
crisis ignited in the US banking sector was beginning
to catch fire in Europe and elsewhere; and, over the
next few years, with Occupy and Anonymous and
grassroots political movements responding to the crisis
in Europe, radical politics returned to center stage.
The shift did not happen overnight. Speaking at
the Manifesto Marathon in 2008, the novelist Tom
McCarthy called the manifesto a defunct format.
The bombast and aggression, the half-apocalyptic,
half-utopian thrust, the earnestness all the
manifestos rhetorical devices seem anachronistic
now. And still in 2010, in An Attempt at a
Compositionist Manifesto, Bruno Latour states: the
time of manifestos has long passed. Latour links the
#methods #outside #remesh
Format Theme Action
manifestos of the historical avant-garde to a belief in
progress which in fact does not stand up to scrutiny
if one considers Dada or Vorticism with their attack
on ideas of progress and reason. But Latours point
sharpens as the essay goes on. He writes: And yet
a manifesto might not be so useless at this point
Not as a war cry but rather as a warning, a call to
attention, so as to stop going further in the same way
as before toward the future. At last, a rallying cry
truly suited to the 21st century.
And what about now, eight years on into the half-
apocalyptic, half-utopian future? Does it still seem
so anachronistic and strange? The fear of being
called anachronistic this is Puchner again
has not stopped artists and activists from writing
different types of timely manifestos with impunity.
And McCarthys dismissive remark was revealed
afterward to be praise he went on to explain that the
manifestos anachronistic aspect is the source of its
interest and value: Things that dont work have great
potential. McCarthys point is insightful, and it hints
at the post-digital state of the manifesto both cutting-
edge and arcane. The 1999 Stuckist Manifesto, for
example, called for a return to analogue, figurative
authenticity (no doubt in reaction to the digital age
generally as well as conceptual art in particular), while
at the same time claiming to be the first significant
art movement to spread via the Internet.
Puchner doesnt regard the manifesto as defunct. He
asks us to think of modernization as different
waves each bringing with it new avant-gardes.
But even Puchner, writing a decade ago, could not
foresee the next wave of manifestos caused by the
genres adaptation to the digital world and adoption
by social media. Virality, memes and meme activism,
the struggle to stand out and be heard amid the rising
din of voices a sort of amplified reenactment of the
isms and schisms in the historical avant-garde and
at the same time the online proliferation of hundreds
or thousands of new movements, not only in art and
social activism but in business and tech and lifestyle,
each with its own manifesto.
All of this signals a new manifesto moment. Ill now
try to sketch a quick description and genealogy of the
21st century manifesto, focusing on the transformative
potential of the genre in post-media conditions that
is, in conditions where software has taken command,
where everything is digital first, where medium has
been overtaken by message, and where outmoded
forms begin to project a new aura of redemptive
potential.
New Blood: The 21st Century Manifesto
Project
Tenets
Most manifestos still adhere to the template passed
down by Moses, Marx, and Marinetti a preamble
followed by a list of commandments or tenets, often
numbered. This rigid structure has proved difficult for
the post-media manifesto to shake, and of course there
is no reason why it should if anything, mainstream
culture has finally caught up with the manifesto
especially the numbered tenets, which now resemble a
listicle as much as a declaration of principles.
Blast / Counterblast
Wyndham Lewis, the self-proclaimed Enemy and
leader of Vorticism, looked back in awe from the
1930s at the era before mass media: The Press in
1914, he wrote, had no Cinema, no Radio, and no
Politics: so the painter could really become a star.
There was nothing against it. The field, in other
words, was wide open for young lions.
Skip ahead to the second-wave of the 1960s and
the manifesto boom that accompanied it, and we
see the coincidence of the new avant-garde with the
dawn of the post-media age. This was a moment for
the manifesto but also for Marshall McLuhan. An
interesting line can be drawn from the Voriticist
manifestos of BLAST in 1914 to McLuhans late
modernist homage to BLAST in his 1954 zine edition
of Counterblast, and then to the second Counterblast
of 1969. The second Counterblast is a post-media
manifesto that describes the acceleration of evolution,
technology replacing biology anticipating the
Accelerationism of the present decade.
Into the Digital
The manifesto had something of a wilderness phase or
a lost generation between the second-wave avant-garde
and the new energy of the Internet in the mid 1990s.
One example is Neoism. The Neoist Manifesto of
1979, which is just a defaced, unreadable text, suggests
that things had more or less run their course by the
late 1970s. And almost two decades later, when Lars
von Trier launched the Dogme 95 Vow of Chastity
on red leaflets, the genre was clearly growing tired,
relying on the ironic reiteration of (already ironic) first
and second-wave avant-garde tropes.
There were exceptions, especially coming from the
broadly feminist perspective responding, as women
have done since Mina Loys Feminist Manifesto
(1914), to the masculinist model of Futurism. These
include cyberfeminist and transhumanist manifestos
like Donna Haraways A Cyborg Manifesto
(1985/1991), VNS Matrixs Cyberfeminist Manifesto
for the 21st Century (1991), and ORLANs Carnal
Art Manifesto (2002) which anticipated more recent
#methods #outside #remesh
Format Theme Action
examples like The Riot Code Grrrl Manifesto (2010)
and The Glitch Feminism Manifesto (2012).
Meanwhile a seismic shift to digital culture and
the Internet was taking place. Beginning with The
Hackers Manifesto in 1986, online manifesto writing
expanded as new virtual communities hackers,
cyberfeminists, open source activists used the genre
to mark out previously uncharted territory. Online
little magazines like Andrei Codrescus Exquisite
Corpse (1997-2011) promoted sharable art manifestos
in their pages and announced new ventures using the
provocative and highly visual medium.
Advertising
Advertising and the avant-garde enjoy a shared history,
and this shared history extends to the manifesto. The
ism Neoism, #Additivism, Xenofeminism is a
brand, and the manifesto is a marketing tool.
Starting in the 1970s, Jenny Holzers Truisms and
Inflammatory Essays series played on mass media,
advertising slogans, and manifestos. An innovative
precursor of what Ill call with some reluctance
the memefesto, the Truisms have been circulating
for decades and continue to circulate across diverse
media. Manifestos make perfect memes because they
are concise, eye-catching, assertive, often humorous
and/or righteous, and generally engineered for
maximum impact and efficiency. Truisms tracked this
evolution from mass media to memes across decades.
Looking forward, it seems likely that algorithms
and sifting technologies will make manifestos more
targeted, relatable, clickable, and pervasive.
Narrative
As Latour states in An Attempt at a Compositionist
Manifesto: Grand narratives are a necessary
component of manifestos. Think of that ghost story
that begins A spectre is haunting Europe; or The
Founding and Manifesto of Futurism, that opens with
the tale of how the manifesto was written and the
movement founded. The origin narrative of Futurism
includes a car chase in 1909 and a crash into a
ditch, from which the Futurists are hauled out by a
group of fishermen. On that very spot, the story goes,
their incendiary manifesto was proclaimed to Italy
and the world.
Latour tries to resuscitate the manifesto genre
because it offers an alternative to negative critique
and the debunking spree of postmodernism.
Compositionists, Latour declares, believe that
there are enough ruins; that we must at least
temporarily suspend the critical gesture and begin
to reassemble. Meanwhile, in his Manifestos for the
New Blood: The 21st Century Manifesto #methods #outside #remesh
Project Format Theme Action

Future in 2010, Obrist considered the future relevance with the past, the genre shows strong continuities.
of manifestos. Sensing the same shift as Latour, But along with these continuities there is radical
he argues that there seems to be an urgent desire new content and new means of circulation: the 3D
for a radical change that may allow us to propose Additivist Manifesto is a computer animated, web-
a new situation, to name the beginning of the next based video; the movement relies on social media,
possibility rather than just look backwards. Obrist and calls not for paintings and poems but glitches and
sees the manifestos potential for looking forward, for algorithms and the manufacture of interspecies sex
supporting radical change, just as Latour sees the organs.
need to suspend the critical gesture for a time and
shift the narrative toward positive reconstruction. When Valerie Solanas faced reporters outside the 13th
Precinct in New York on June 3, 1968 after shed shot
But while manifestos are always primarily action- Andy Warhol, she stated simply: Read my manifesto
based and future-focused, and in that sense potentially and it will tell you what I am. Manifestos are always
constructive, it is also hard to imagine a manifesto often literally at the bleeding edge of culture and
that is not simultaneously destructive, that does not politics. In the current decade the manifesto has once
leave behind critical ruins of some sort. It is a genre again, as a century ago, found its moment. Without
that represents, in Puchners words, modernity a manifesto, Zak Kyes told the audience at the
as a process of innovative self-destruction. This Manifesto Marathon, we cannot conceive the future.
brings us back to a contemporary movement such as The genre continues to pry open new discursive and
#Additivism. imaginative spaces, force new ideas into the public
view, promote engagement with politics, technology,
Blood and other facets of everyday life, and push new
In 2015, the suffix ism was declared Word of frontiers of artistic and critical innovation.
the Year by Merriam-Websters Dictionary. Over
the past twelve months I have read countless
manifestos announcing countless isms including
the 3D Additivist Manifesto, the Xenofeminist
Manifesto, the Manifesto of the Committee to
Abolish Outer Space, and more than one manifesto
for Postcapitalism (including one by the former
purveyors of Accelerationism) these manifestos
are boldly political, provocative, unselfconscious, and
forward-looking. Unlike Neoism these movements
no longer appear hobbled by irony they are open
to the revolutionary potential of our hyperconnected,
globalized world the global village that McLuhan
borrowed from Wyndham Lewis where, for better
and worse, all that was once solid has literally melted
into air.

The 3D Additivist Manifesto is a good illustration of

where the genre is headed. #Additivism understands
the essential function of the manifesto: When the
world feels stuck, the manifesto is a mode to disrupt
it. On one hand, there are still strong ties with the
historical avant-garde: to speak only of Futurism,
both movements: preach living through action and
aggression; have a cookbook; cover not only art but all
aspects of life; dream of their own multiplication; and
draw energy from paradox (sex machines and chastity
belts, aiding and disrupting surveillance). Similarly,
the new Postcapitalism combines elements of The
Communist Manifesto, Oscar Wildes The Soul of
Man Under Socialism (aesthetes with robot slaves),
and Valerie Solanass SCUM Manifesto (institute
complete automation). So for all its desire to break
Samy Kamkar Combo Breaker 2015 #toolkit #resistance #break
Author Project Year Format Theme Action

Motorized, battery
powered, 3D printed,
Arduino-based
combination lock
cracking device

Combo
Breaker
Combo Breaker
Project
Combo Breaker is a motorized, battery powered, 3D
printed, Arduino-based combination lock cracking
device. It is portable, open source, 3D models provided,
and exploits a new technique Ive discovered for cracking
combination locks in 8 attempts or less, but in an even
more exciting, automated fashion.
Arduino Nano
$15: A 5V Arduino Nano
microcontroller is used as the
brains of the project.
Allegro A3967 / EasyDriver
Stepper Driver
$8: I originally used an A3967-
based EasyDriver which can drive a
stepper motor up to 30V at 750mA.
This is what precisely controls the
dial.
Or Allegro A4988
$13: Instead of the EasyDriver, I
upgraded to a smaller, yet more
powerful stepper driver that can go
up to 1 amp (1000mA).
Stepper Motor
$18: You can use a normal stepper
motor for the simpler version of
the Combo Breaker build, however
if youre working on creating the
more advanced version, youll need
a double-shaft stepper motor like I
liste below.
Or Double Shaft Stepper Motor
$16: This double shaft stepper
motor allows you to build the more
advanced Combo Breaker while
employing an optical rotary encoder
on the back to detect the position
of the stepper when the dial stops
turning (which is part of the exploit
employed).
HKT22 Optical Rotary Encoder
$25: For use only with the double
shaft stepper motor, this optical
rotary encoder lets us know what
#toolkit #resistance #break
Format Theme Action
position the shaft of the stepper You dont need this one, but if you
motor is at and allows us to employ want to recharge the battery, youll
an exploit on Master combination need a charger that supports 3-cell
locks where the stepper will get LiPos.
locked into certain grooves within
the internal combination disc of the Arctic Alumina Thermal Adehsive
lock. $8: Not required, but this is
the thermal adhesive I use to
Analog Feedback Servo permanently attach the heatsink to
$15: This servo not only provides the stepper motor driver. Normal
the torque we need to lift the thermal paste has very little
shackle (90.26 oz*in), but has an adhesion and kept falling off, so I
additional wire providing analog switched from thermal paste to this
feedback that we use to detect the thermal adhesive.
state of the shackle and whether it
has opened or not. Digital Calipers
$17: If you dont already have digital
L7805 Voltage Regulators calipers for precise measurements
$5: If youre using the analog to measure the lock, for example,
feedback servo, youll want to use these are inexpensive and
an external voltage regulator to accurate.
provide enough juice to the servo.
While the Arduino is 5V and can Breadboard and Wires
drive the servo normally, it wont be $9: If you dont already have a
able to pump out enough current breadboard and wires, they will kind
for the servo when it starts hitting of help.
the shackle and could damage your
Arduino.
500mAh 3S Lipo Battery
$14: This 500mAh 3S (3-cell, 11.1V)
battery gives enough juice to the
stepper motor to be very effective,
and at 500mAh can last between
30-120minutes straight before
having to be recharged.
Lipo Charger
$45: This lipo charger is overkill if
only used for this project, but is a
good one that I use at home for a
wide range of batteries and cells.
Print Green Print Green 2016 #recipe #matter #smooth
Author Project Year Format Theme Action

Method for creating a large

scale biological printer

Print Green

Print Green uses a special CNC machine as a printing
device. Instead of canvas it uses Styrodur, covered
with black felt, bolstered with sponge. On this basis
the CNC device applies/prints the mixture of soil, water
and seeds. Instead of 3D printing cartridges organic
mixtures are used, which become green with time.
The finished results are printed 3D models with
capability of turning green. Print Green creates
a living design/print, a biological growth that
transverses the motto think, before you print and
turns it into the slogan of an alternative printing ethic:
print, because it is green.
Print Green #recipe #matter #smooth
Project Format Theme Action

Recipe:

1. For filament use soil which has been sifted through a

kitchen strainer to remove any particles that are too big.
It is important to use clay soil. You could also add seeds
to the mixture at this stage but for this particular print
1. apply the seeds later.

2. Prepare a wooden mold and print the chosen design into it.

3. Prepare concrete and pour it carefully into the mold.

4. When the concrete dries, remove the mold.

2.
5. Carve away a couple of millimeters of soil on the print
and apply seeds. We used watercress seeds but you can use
a number of other plants (grass, chia...). But remember
you will get best results with plants that do not grow too
tall or spread too much. Water your building blocks daily,
preferably a few times per day.
3.

Grass ornament/Star recipe:

a. Sift clay soil through a kitchen strainer to remove

bigger particles. Mix the soil with water. You could also
add seeds at this stage but for this particular print it
4. is best if you add them at a later stage.

b. Fill the mixture into the filament container and print

the selected design.

c. Dry the print with a hair drier while the printer

is printing.
5.
d. Apply the seeds on the top layer of the print. Sprinkle the
print with water daily, preferably a few times a day.

The project was designed by Maja Petek, Simon Tran, Danica Koroec, Tina Zidanek and
Urka Skaza in the Intermedia arts course under the supervision of Ass.-Prof. Duan Zidar.
Heather Dewey-Hagborg The Official Byononymous 2016 #recipe #postnature #replace
Author Guidebook Year Format Theme Action
Project
An illustrated guide on how to
practice DNA elusiveness

The official
byononymous
guidebook

(A) (B) (C)

Written by Heather Dewey-Hagborg, Illustrated by Jarad Solomon
The Official Byononymous Guidebook #recipe #postnature #replace
Project Format Theme Action

(A) Erase your dna

Materials: distilled Clorox

water bleach*

measuring funnel
cups

spray kimwipes
bottle tissues
or paper
towel

nitrile
or
latex
gloves

*WARNING: Bleach is dangerous and extremely corrosive! Dont touch with bare
hands, injest, inhale, or apply to anything delicate or precious.

**TIP: DNA Away is slightly less corrosive than bleach and is available in
handy to-go wipes.
The Official Byononymous Guidebook #recipe #postnature #replace
Project Format Theme Action

Steps: 1. Wearing gloves, mix 9 parts distilled water with 1

part bleach. For example mix 1 ml bleach with 9 ml
distilled water and pour into your spray bottle using
funnel.

2. Spray the glass, silverware, or surface you wish to

remove residual DNA from thoroughly.

3. Let the bleach mixture sit up to 30 min.

4. Wipe the bleach spray off with a gloved hand.

5. Wipe remaining bleach residue away with clean water.

The Official Byononymous Guidebook #recipe #postnature #replace
Project Format Theme Action

(B) Extract your dna

Materials:

electric kettle measuring tool* 1.5 ml

+ shrink wrap microfuge tubes
or parafilm + permanent
marker

.9% saline solution 10% Chelex tube rack

solution
(100 l per
person)

1.5ml centrifuge** paper cup (1 micropipet

per person)

*TIP: You need to measure quantities of 30 ul, 100 ul, 1 ml & 10 ml

many inexpensive disposable measuring options are sold here.

** DIY your own centrifuge!

The Official Byononymous Guidebook #recipe #postnature #replace
Project Format Theme Action

Steps: 1. Gather a group of friends/allies. The more friends,

the more sources of DNA, and the more biononymous you
will be!

2. Put 10mL saline solution per person into individual

paper cups. Put 100uL per person of chelex solution
into microcentrifuge tubes.

3. Pour saline solution into your mouth, and vigorously

rinse the inside of your cheeks for 30 seconds.

4. Spit saline solution into the paper cup.

5. Swirl the cup gently to mix cells that may have

settled to the bottom. Use a micropipet with a fresh
tip to transfer 1000 L of the solution into your
labeled 1.5-mL microcentrifuge tube.
The Official Byononymous Guidebook #recipe #postnature #replace
Project Format Theme Action

Steps: 6. Place the sample tubes in a balanced configuration in

a microcentrifuge, and spin for 90 seconds at full
speed.

7. Pipet out the supernatant (clear stuff at the top of

the tube). Try to remove most of it, but be careful
not to disturb the cell pellet (clump of white cells)
at the bottom of the tube.

8. Set a micropipet to 50 L. Resuspend cells in the

remaining saline by pipetting in and out.

9. Withdraw 50 L of cell suspension, and add it to a

tube containing 100 L of Chelex. Label the cap and
side of the tube.

10. Boil the tubes for 10 minutes. If tossing in a kettle

make sure the lids are tightly closed and seal with
parafilm or shrink wrap.
The Official Byononymous Guidebook #recipe #postnature #replace
Project Format Theme Action

Steps: 11. Shake the tubes vigorously (or vortex) for 5 seconds.

12. Place tubes in a balanced configuration in

microcentrifuge and spin for 90 seconds at full speed.

13. Use a micropipet with a fresh tip to transfer 50 L

of the clear supernatant into a clean 1.5-mL tube. Be
careful to avoid pipetting any cell debris and Chelex
beads. Label the cap and side of the tube.

14. Store on ice or in the freezer until ready to use.

15. If you are in a fancy lab quantify your DNA using a

nanodrop, Qubit or PCR + gel electrophoresis. If not,
try using a capacitance meter.

DNA extraction steps lovingly appropriated from DNALC protocols: www.dnalc.org

The Official Byononymous Guidebook #recipe #postnature #replace
Project Format Theme Action

(C) replace your dna

Materials:

spray DNA
bottle mixture*
15ng/uL

water item

DNA
preservative***

* Online sources of DNA include: Quiagen and LifeTechnologies.

** Dilution guide.

*** DNA perservative is a proprietary formula and potentially toxic so

dont injest!
The Official Byononymous Guidebook #recipe #postnature #replace
Project Format Theme Action

Steps: 1. To your spray bottle add 2 mL DNA mixture, 1 mL

water & 1 mL of preservative (if using, otherwise add
another 1 mL water).

2. Mix well.

3. Spray liberally on sheets, clothing, soft and

sensitive items. Use like febreeze! You can even spray
it on yourself if you dont include the preservative.
I wouldnt drink it though.
Daniel Rourke Becoming Horror in The Plasticene 2016 #methods #matter #morph
Author Project Year Format Theme Action

Becoming Horror
in The Plasticene

The Plasticine is
an action being
carried out on
itself; a wave
molding the very
substrate that
carries it, as it
crashes against its
own defenses.
Becoming Horror in The Plasticene
Project
Upon visiting an exhibition of plastic in Paris in the
mid 1950s, Roland Barthes wrote a short essay on
the metaphoric qualities of the 20th century wonder
material:
More than a substance plastic is the very idea of
its infinite transformation; as its everyday name
indicates, it is ubiquity made visible. And it is this,
in fact, which makes it a miraculous substance.1
Barthes Mythologies collection, from which his
Plastic essay is taken, was an elegy on the everyday.
In banal capitalist commodities and pop cultural
clichs Barthes sought out the magical, revealing
the everyday as the fountain of secular mythology.2
Plastic is seemingly infinite in its capacity to
be formed and used, and it is this feature which
renders plastic meaningless in itself, able to take on
completely any gesture or idea that is breathed into it.
The substances descent to prosaic, crass, cheap, and
expendable is for Barthes precisely what marks it
as miraculous. The transformations plastic is capable
of going through give us, according to Barthes, a
measure of our power, since the very itinerary of
plastic gives [us] the euphoria of a prestigious free-
wheeling through nature. With remarkable prescience,
and in retrospect, breath-taking ecological ignorance,
Barthes foresaw a time where ultimately objects will
be invented for the sole pleasure of using them.3
A substance of unrivaled utility and acquiescence,
the miraculous, sudden transformation of plastic,
soon gives way to the mundane, through the rituals
of use and waste that organize our collective
hyperconsumptive disregard. We swaddle our food
in plastic, and place it in babies mouths to aid in
their weaning. It protects and insulates the surface
of our bodies, and its nonreactive properties see it
plunged inside us during medical procedures. But
plastic is ultimately ready to be discarded as soon
as it is produced, one of the many pathologies of our
capitalist yearning for comfort and economic renewal.
As Felix Guattari noted, capitalism remains a
formidable desiring machine. The monetary flux, the
means of production, of manpower, of new markets,
all that is the flow of desire.4
Digging through landfill middens produced by
capitalist accumulation over the last century, future
archaeologists will peel at layer beneath layer of
plastic food packaging, baby pacifiers, and unfixable
kitchen appliances in a journey back through our
times. This kipple indicates and organizes the
fashions of each decade, not only in testimony to what
consumers once valued, but as a material enactment
of forgetting.5 As Myra J. Hird observes:
#methods #matter #morph
Format Theme Action
Landfills swell with things we once wanted and
now do not want, once valued and no longer value.
What remains after our disgorgement is what we
(want to) consider our real self.6
Our obsession with forgetting, Hird suggests, is
ritualized through the separation, organization and
eventual dumping of waste. Calling on Mary Douglas
work on impurity and pollution, Greg Kennedy defines
waste as that which settles outside the ruled lines of
our conceptual schema,7 remarking further that a
society preoccupied with concealing its wastes must
have something important to hide from itself.8
Calling out Roland Barthes obsession with plastic as
a substance of instantaneity, Heather Davis regards oil
and its plastic miscellany as a form of slow violence of
inexplicable, drawn out, material consequence. Plastic,
Heather Davis suggests, is the ultimate material of
tempophagy, or time-eating, one that consumes the
compressed bodies of ancient plants and animals, a
process that took thousands of years, only to be
transformed into a single-use take-out container.9 One
of many precocious children conceived by crude oil and
industrial capitalism, plastic is composed of long strings
of organic polymers separated by fractioning processes.
Oil itself is what Amanda Boetzkes and Andrew
Pendakis call fossilized death;10 a fluid, concentrated
remainder of entire ecosystems, coalescing over
millions of years into the lifeblood of capitalist causes.
Once disposed of and disregarded, plastic enters into a
further, distended relationship with microscopic flora
and fauna. Broken down into microplastic fragments by
exposure to the sun and tidal forces, plastic become an
ecosystem for bacterial colonies and viruses, locking
themselves to its smooth surfaces. As it disperses
even further, plastics leach their chemical constituents,
perhaps most infamously Bisphenol A, which mimics
the effects of the hormone estrogen, and has been
shown to impact on the fertility of fish, amphibians,
and some evidence suggests, human beings. As Erik
1
2
Roland Barthes, Mythologies (London: Vintage, 2009).
Ben Highmore, The Everyday Life Reader (Psychology Press, 2002),
305.
3 Barthes, Mythologies.
4 Jane Bennett, Powers of the Hoard: Artistry and Agency in a World
of Vibrant Matter (Lecture, Vera List Center for Art and Politics, 26
September 2011)
5 Myra J. Hird, Knowing Waste: Towards an Inhuman Epistemology,
Social Epistemology 26, no. 34 (October 2012): 456
6 Ibid., 457
7 Greg Kennedy, An Ontology of Trash: The Disposable and Its
Problematic Nature (Albany, NY: State University of New York Press,
2007), 6.
8 Ibid., 4.
9 Heather Davis, Toxic Progeny: The Plastisphere and Other Queer
Futures, philoSOPHIA 5, no. 2 (2015): 235
10 Amanda Boetzkes and Andrew Pendakis, Visions of Eternity: Plastic
and the Ontology of Oil | E-Flux, E-Flux, no. 47 (September 2013),
Becoming Horror in The Plasticene #methods #matter #morph
Project Format Theme Action

Swyngedouw persuasively argues, we cannot escape,
producing nature... [forcing] us to make choices
about what socio-natural worlds we wish to inhabit...
a qualitative transformation of BOTH society AND
nature has to be envisaged.11
Today, perhaps the most iconic testament to
planetary forgetting is the Great Pacific Garbage
Patch. The creation, theorist Jane Bennett explains,
of the conjoint actions of water currents, capitalist
accumulation, a fervent ideology of economic growth
and free markets, and the trillions of plastic bags,
toys, packagings, machines, tools, bottles that humans
manufacture, use and discard every minute.12 In the
Great Pacific Garbage Patch ritualistic forgetting
becomes monumentalized at a scale difficult for us to
comprehend. It is what Timothy Morton refers to as
a hyperobject, an entity of such size and magnitude
that it dwarfs our perceptual schema. For Morton
hyperobjects like the Great Pacific Garbage Patch, or
Global Warming, the nuclear catastrophe at Fukushima,
or The Gulf Oil Spill of 2010, are cataclysms that close
the beyond.13 There is no away anymore, no Outside
into which we can ritually cast those things we wish to
rule out of the schema of ourselves. The Great Pacific
Garbage Patch is a distributed testimony of forgetting
that plasticizes the entire planet, and will remain
etched into the geological record long after we are
gone. The horror of The Plasticene is one impossible
to escape, and it binds humans and critters in ways that
far exceed the provisional title of we.
shifting their hormonal make-up to amplify human
causes to a planetary scale. In an ironic turn, Roland
Barthes proclamations on plastic have become
an indicator of the kind of mutual morphologies
our planet sustains. For just as Barthes marked out
plastics seemingly infinite capacity to be molded into
any mundane and/or horrific shape humans willed
upon it, so in the era of The Plasticene the roles have
been reversed. Nature becomes, for plastic and
other waste materials that bubble and leach at the
echelons of civilization, a mere substrate to be lent
form through chemical muddlings and additivistic
altercations. By tracing just one material consequence
of our hyperconsumptive civilization it is possible to
see an alternative becoming of nature qua human that
weaves all beings into the interdependent context of
the manifest world.16 A world that exceeds any we
any us that confronts it; a world showing itself to have
always already been plastic in its capacity to constantly
reform and envelope itself.

The Plasticine is an action being carried out on

itself; a wave molding the very substrate that carries
it, as it crashes against its own defenses. This is,
echoing theorist Eugene Thacker, the promise of
horror: to be able to take aim at the presuppositions
of philosophical inquiry that the world is always
the world-for-us and [make] of those blind spots
its central concern, expressing them not in abstract
concepts but in a whole bestiary of impossible life
forms mists, ooze, blobs, slime, clouds, and muck.14
Within these impossible life forms cultural norms
are disturbed as monsters, and unstoppable, invisible
forces battle for supremacy at the edges of human
imagination. And because these horrors are themselves
plastic, malleable forms, able to incorporate all manner
of mutated beings and disturbances, they are as
unstoppable as the transformations [they] mirror.15 11 Erik Swyngedouw, Apocalypse Now! Fear and Doomsday Pleasures,
That is, as Rosi Braidotti argues, only horrific figures Capitalism Nature Socialism 24, no. 1 (March 2013): 18

can keep up with, represent, and perhaps combat, the
horror of our times.
The world that The Plasticene brings into being has no
12 Bennett, Powers of the Hoard: Artistry and Agency in a World of
Vibrant Matter.
13 Timothy Morton, Hyperobjects: Philosophy and Ecology after the End
of the World, Posthumanities 27 (Minneapolis: University of Minnesota
Press, 2013), 94.
14 Eugene Thacker, In the Dust of This Planet (Ropley: Zero, 2011), 9.

outside, no beyond. It swells to oceanic proportions, and 15 Rosi Braidotti, Metamorphoses: Towards a Materialist Theory of
Becoming (Wiley, 2002), 185.
dwells in the guts of microflora, fish and amphibians, 16 Kennedy, An Ontology of Trash, 162.
Woelab-Lom W.Afate 3D Printer to Mars 2012
Author Project Year
W.Afate
3D Printer to
Mars
Our waste for space exploration
Rather than send its computer waste to poor countries,
why would the West not send it to Mars? Our project
wants to realize this utopia. The W.AFATE, an African
3D printer completely built from e-waste, is a pioneer of
this new era representing the ecology and virtuosity of
space conquest. An African 3D printer at the forefront
of interstellar recycling.
From recycling to Self Assembly 4D Printing
The W.AFATE will make and print tools and machines
for a new life on Mars. Our machines carry the promise
of cosmic adventure, allowing others to make active
machines for creating the necessary equipment
and living environments in anticipation of a possible
colonization of the planet Mars. The W.AFATE will
create objects that can change after they are printed,
making and remaking themselves. Instead of building
something new, why not create materials that build
themselves? Machines that produce themselves with
minimum energy consumption and without a computer
to order... all you need is environmental waste.
#fabulation #kipple #extrude
Format Theme Action
Relocation of computing
garbage dumps to Mars via the
development of a new generation
of autonomous machines made
from recycled waste
Problems which our solution resolves:
Avoiding and relocating pollution on Earth.
Reducing the enormous costs involved in the
conquest of space.
Questions we still need to answer:
What energy are we going to use?
With what materials on Mars are we going to print?
How are we going to command these machines?
W.AFATE to MARS is primarily an international
collaboration between Africa and Europe as part of
Space Apps Challenge 2013. In La Cantine/Paris
Snam and Julien met. They mobilized the WoeLab
team based in Togo, West Africa, and worked in duplex
with them to develop the project.
WoeLab is an innovative community based on sharing
and collaborative initiative. W.AFATE is one of the very
first African symbols of this contemporary movement
of commons which is being developed around the
world and channelled through African traditions.
The W.AFATE is an invention of the entire WoeLab
Community, including all the thirty young residents who
benefits from the WoeLab program.
W.Afate 3D Printer to Mars #fabulation #kipple #extrude
Project Format Theme Action

The manufacturing of the W.AFATE in 10 steps:

1. Collect the materials: out of order CPUs, rails, scanners or photocopier motors,
Arduino card, electrical wires.

2. Gather tools: hammer, hacksaw, drill, soldering iron, screwdriver.

3. Dismantle the UC and retrieve the chassis with an alimentation box which will
supply the Arduino card.

4. Manufacture the printing plate.

5. Put the printing plate on the chassis with fixing rails (y).

6. Put the rails on the print-head or the extruder (x). This assembly will be
synchronized with that of the rails allowing the extruder to go up and down (z).

7. Put the four motors controlling the three axes

x, y, z.

8. Fix the interrupters.

9. Manufacture and assemble the extruder.

10. Connect elements to the Arduino card.

11. Send to Mars.

Geraldine Jurez Kauri 2015 #device #beyond #morph
Author Project Year Format Theme Action

A ritual currency in the

shape of a seashell that
allows you to perform both
gift and commodity forms
of exchange

KAURI
Kauri #device #beyond #morph
Project Format Theme Action

tiny hollowed out negative spaces

the shell that can hold some water that can be shared
Donna Haraway

Ritual:

Download Kauri.stl and 3D

print it.
To use the kauri, first the digital is a
induce a shell-like
metastable state, by
choosing the side that
corresponds to the type
of exchange you wish to
perform.
The hollow side must be
used if you wish/need to
perform a gift exchange.
The solid side must be
regime of energies
used if you wish/need
to perform a commodity
exchange.
After this decision, now
you need to perform a Jussi Parikka - Geology of Media
small ritual to designate
the economy in which the
currency will operate.
To create the space for
gift economy use the
hollow side to collect
and hold water on it.
Drink a little and then Market and non-market, as well as that favors the material transfer of
share it with the person human and non-human exchanges wealth and non-automated trust,
you wish to perform the always involve some kind of energy: to instigate a brief moment of
exchange. geological formations, labor, metastability, of deceleration.
To create the space desires, metal extraction, feelings,
for commodity exchange bitcoin rig miners Energy is Money is always going towards the
put the cash you will the basis of all human activity, future, but the future doesnt have
exchange for a commodity and today, money is too. Money a fixed direction. The kauri was
underneath the shell, can facilitate mutual aid and also designed to provoke a state that
the receiver will need to destroy it. Money can feed you but can result in two different types
remove the shell to take also can enslave you through debt. of economic exchanges, yet be
the money. Money can produce joy or tragedy. interfaced by the same currency:
If you dont have access Money, like energy, must be spent. one side opens up a space for
to a 3D printer, you can Encrypted fantasies and automated a gift exchange and reciprocity
walk down a sea shore trust are not the only futures by holding water in the shell; the
and look for a shell available for exchange, after all the other side designates a space
which can be used in the digital is a regime of energies. The where the privileged position of
same way following these kauri is a currency between the market exchange is reaffirmed, by
instructions. tiny hollowed spaces and the ritual capturing the money with the shell.
Anonymous Pistil 2016 #toolkit #resistance #constrain
Author Project Year Format Theme Action

The Pistil is a 3D printable object

designed to render a gun useless

Pistil

The Pistil utilises what all guns have
in common: an open cylindrical
hole at the deadly end. The Pistil
is a combination of three parts:
an attachment to connect to a
syringe of 2 part epoxy, a complex
static mixing tube to mix the two
ingredients, and a spreader that
pushes the mixed epoxy onto the
walls of the gun barrel. The Pistil
was designed for a 25mL syringe
of J-B Weld KwikWeld, a two part
epoxy that cures in 6 minutes and
contains metal filings for strength.
(The use of other epoxies is
possible, but a new attachment will
need to be designed.) The current
design uses geometry to lock the
epoxy into the rifling of the barrel
and lock the Pistil into the gun. For
a strong visual indicator that the
gun has been disabled, the base
of the Pistil resembles a flower. It is
recommended to print the Pistil in
red or floral colors.
A gun is the most obscene object.
Its invention was predicated on the
desire to destroy another human.
Thanks to the work of Cody Wilson,
we also have undetectable, plastic
guns that anyone can make. The
gun is unwelcome in all aspects
of my life, but when I mention
to people that I am a 3D printer
operator, the conversation most
often turns to 3D printed guns. This
combination of my most despised
object and favourite technology
is crushing. I wish I could remove
all the guns from the world like all
the ink from the pool. But what if
3D printing could counteract this
deadly technology? If you can print
a gun, can you print the opposite of
a gun? Short of 3D printing a whole
hospital, there is nothing I can print
to undo the damage of a gunshot
wound. So, I designed an object
that, when applied to gun, renders it
useless and removes one gun from
the world. Gun plus anti-gun equals
no gun. I believe that 3D printed
weapons are inevitable, but this is
my attempt to resist that technology.
Pistil #toolkit #resistance #constrain
Project Format Theme Action

Instructions for the user:

1. Modify the design file to fit the barrel, or print a standard calibre file.
2. Use the Pistil only on an unloaded gun. If you are unsure if a gun is loaded or
not, do not handle the weapon.
3. Remove the epoxy from the packaging and connect it to the attachment at the flower
end of the Pistil with a quarter turn.
4. Insert the Pistil tube into the barrel of the gun.
5. While holding the Pistil as far into the gun as possible, force the plunger on the
syringe down, forcing all of the epoxy through the mixing tube and into the gun.
6. Remove the syringe, but keep the Pistil in place. The Pistil is designed for a
single use.
7. Do not hide the damage you did to this gun. A blocked gun barrel is dangerous to
both the shooter and the target. The Pistil cannot keep you from being shot.
8. Print more Pistils.
Sophie Hoyle Collapse 2016 #fabulation #matter #collapse
Author Project Year Format Theme Action

Collapse
Despite the
constant airstrikes
it was only in the
boat that he felt
closest to death
a small flimsy thing
flung about in dark
waves, desperately
gripping the sides
feeling it was going
to flip over and be
swept away.
Collapse
Project
While picking through hybrid plastic-rock samples
in the lab, they found fragments of seemingly melted
objects, some distorted and compacted, others still
partly recognizable as a toothbrush head, a childs toy.
In the neighbouring Biomarine Department they
peered into dissected flesh laid out on the white slab,
curiously picking out bottle-tops nested in stomach
casings with forceps. The remnants of six- pack rings
constricted growth, morphing and forcing flesh to
grow around it, weakening spines and limiting their
ability to swim. New coral formed and sprouted
through bundles of cargo net on the seafloor, and sea
snails clung to the sides of plastic bottles in clusters.
They re-covered the trays and delivered them back in
to the freezer room, as a young researcher stripped the
slimed latex gloves from his hands and headed across
the corridor to Medicine and Surgery.
The head doctor described with enthusiasm how
formerly they had to handle slippery masses and grasp
tightly to push tubing through, but now they handled
plastic hearts made to any size resting on their palms;
a different kind of dead matter, from dead cells to
chemical reductions. The emissions of burnt-plastic
fumes had reacted upon the chunks of lungs that also
graced the table. Small mutations, tumors and other
seemingly inexplicable malformations erred away from
the anatomical models they had previously learned
in university lecture halls, projected up high in linear
outlines above students in rows hurriedly taking notes.
The tower of the building mirrored the other side of the
covered compound, the Department of Architecture,
Environment and Planning. In a boardroom concerned
engineers and architects stared on morosely at the
bleak predictions. They remember being told before
in the hundreds of meetings discussing toxic sites
and insurance payouts from flooding, but people
hadnt paid much attention as the dimmed lights and
generic graphs made people shift in their chairs. The
dust seen in the projector rays, the hum of machines
and boredom overlaid diagrams of isostatic rebound,
glacier-melt causing the north-west to rise, converging
with rising sea-levels to lead water to trickle through
the marshlands and ex-industrial shores and slowly
wash their way through the City of London. Now
they desperately problem-solved and sketched out
ideas, the panic of any failure causing direct death
felt different to the previous adrenaline of all-night
team assignments. At one point they thought they
could re-use the tangled plastic islands floating in the
sea through skimming along and filtering the waters
with seabins to convert them back to oil. However the
huddles of decomposing fish, shark and human corpses
that had also swept up and entrenched themselves into
#fabulation #matter #collapse
Format Theme Action
the structure made this more difficult. The lab boats
continued on past the stranded survivors gathered on
the plastic raft, a floating terrain, those not accounted
for in the Emergency Recovery Plan. It was considered
human trafficking for those manning boats to transport
them back to land, and they knew the samples would
be hard enough to get past the Border Agency. So they
gave a casual stare of indifference and after retrieving
what they needed, made their way back. The soon-
to-be-dead had been edged off the land from flooded
cities and taken by the current, scrambling to recoup
and stay afloat, and lightly covered in a greasy film
amidst the rotting carcasses.
In the downstairs classroom a young team were re-
working prototypes for a new series of 3D- printed
temporary shelters, after the problems of the others
became apparent. Requiring lorries to transport
generators and stacks of plastic to the cities and then
to the camps where the roads were dirt tracks had
been inefficient. Many had broken down and were
eventually taken to the dumps surrounding the camps
to be thrown away, giant printer frames abandoned
next to faulty generators, with embossed Chinese script.
When plastic supplies were low, theyd tried melting
down found bottles and bags to force through the tubes
but it just got blocked, so these were discarded and
they resorted to building shelters from crates, tarpaulin
and concrete canvas like the old days.
Akram was sitting in one of the first series of plastic
shelters crowding the outside of Dbayeh camp
overlooking Beirut. Too hot inside under the burning
sun and lacking ventilation, they couldnt withstand
the increasingly extreme weather conditions. The
smell of heated plastic drove him outside to the smell
of garbage piled high and carried on the breeze. They
used to cover it with rubble to obscure the fact they
had no disposal strategy, but they didnt anymore and
the stray cats and small children freely clambered over
them to pick out useful debris. Some supplies were
brought up from the city center by former-maids from
the Philippines and Ethiopia. They occupied their
employers properties after theyd left for the UAE with
the promise of an elite escape plan. However, they
heard reports of the scorching heat burning the fake
implanted grasses, and camel corpses collecting by the
motorways after wandering in from the desert. There
were also a few westerners in the camp in different
shelters; initially they were volunteers who, despite
being warned that itd be extremely difficult to return,
had never experienced an obstruction to their travel so
couldnt conceive of such a turn of events, and were
now also a permanent part of the camp population.
Akram remembered washing vehicles in the Majnoon
oil field back in Basra, the heavy smell in the air
Collapse #fabulation #matter #collapse
Project Format Theme Action

and the stickiness remaining on the skin. This was assembled by squatters, activists and other people
followed by a period of empty, panicked waiting that sensing how imminently things would disintegrate,
ended in leaving with few belongings on an over- no-one ever made the first official move. They
packed bus. He recalled the smell of petrol from the waited for scientists with knowledge, who waited for
motor whilst crossing the waters, and of sea-salt which businesses with funding and logistics, who waited for
at that time was comforting and promising; having governments with policy and law, who waited for the
spent seven years showering in it since, never being populace to tell them what they wanted them to do.
able to fully wipe off the white dusty residue, he felt They sat through the initial smaller-scale floods, the
differently. Despite the constant air-strikes it was soaring temperatures, the slowly accumulating camps
only in the boat that he felt closest to death- a small in barren fields and hillsides, continuing to quietly and
flimsy thing flung about in dark waves, desperately patiently wait.
gripping the sides feeling it was going to flip over
and be swept away. But they eventually staggered
to shore. He tore off the front page of his passport
in the hope they wouldnt be able to read the Arabic
script and would be sent to a Syrian camp, as hed
heard numerous times on the way that they had better
facilities. The fires in Dbayeh were different to the
acrid smoke of burning plastic lit by people waiting
outside in queues in Lesvos. They were mainly young
men, shivering and rolled up in the plastic coverings
shed from bales of blankets, stocked from the many
organizations with meaningless letter combinations
like UNHC-. Theyd run out of blankets as theyd been
given to families whod been fast enough to wake their
children inside the tents where condensation clung,
directing them half-asleep to queue at the temporary
distribution point. They stayed there until they were
beaten back by police that charged the crowd. Had
he known, Akram wouldve kept the life- jacket and
scraps of the deflated boat strewn along the shore after
hitting some rocks. He wouldve dried them out over
the fires and hung them up on the razor-wire, which
had a constellation of clothes and torn strips that
remained after attempts to remove them. It was a few
weeks later that the authorities forcibly sent him back
to Turkey, tear-gassing the crowds and herding them
with tanks. After many months and desperate attempts,
he was offered a more certain route for a lower price,
and though promised Amman, made it to Beirut. The
third generation Palestinian children that lived at the
core of the camp were testament that this wouldnt be a
temporary stop-over.

Back in the lab, other parts were not discernible to

them. In the rock slices on glass, they found it marbled
through with strains and nuggets of plastic that were
unidentifiable. Theyd been chipped off from small
sculptural forms, 3D printed artists works once
shipped round the world to new museums for critical
accolades, cushioned in crates. Despite the urgency of
certain narratives to small groups of people reading
books and debating fiercely, it seems that most people
had been waiting for someone else to act first, feeling
unable to shift things alone. Regardless of the off-
grid communes that began to crop up around the city,
Marija Bozinovska Jones Echoes of Earth: 2016 #recipe #matter #extract
and IYDES The Rocks of Us Year Format Theme Action
Author Project
A secession of speculative
3D printed artifacts from the
future past

Echoes
of Earth:
The Rocks
of Us

Listen to the Earcon Wave

Echoes of Earth: The Rocks of Us
Project
Echoes of Earth proposes a
hypothetical future narrative: it
takes the premise of communicating
information about our society to
intelligent entities in the distant
future via archaeological artefacts.
These artefacts broadcast our self-
image across eons and combine
artificial 3D printed segments and
naturally occurring sediments in
a conglomerate rock structure.
The organic components carry
information as bio-/ecofacts,
while the inorganic printed smart
plastic parts are embedded with
information. The data is designed
by global information technology
brands, which synthesize our
contemporary values and knowledge
while overlapping social and
corporate relations.
Melting, molding and continuously
transmorphing, plastic seems
indestructible. With its endless
circulation, it has become the
material that epitomizes the era
of the homo sapiens as an agent.
Plastic disperses around the planet
via globalized trade driven by hyper-
consumerism. As it contaminates
the environment and merges with
the geology of previous eras,
fabricated matter is beginning to
amalgamate with nature in the form
of plastiglomerate1 rocks.
The process of prototyping 3D
printed rocks as representational
objects explores the paradoxical
materiality of artificially reproducing
and substituting nature. Plastic,
being a durable information carrier
capable of outlasting generations
of humans, demonstrates the
anthropocentrism of capitalist
society long after it collapses.
The proposed rocks encipher
information representing the
landscape found during the
#recipe #matter #deface
Format Theme Action
human centered epoch. With the
encapsulated audio wave terrains
of earcons, globalized capitalisms
lack of language barriers is
portrayed. Thus the rocks have a
binary function both as a means
to communicate the functionality
of a product to the speculated
future user and as a contributor to
the Anthropocene audio ecology,
where corporations compete for
attention by producing ever more
mesmerising sound signatures.
1 A plastoglomerate is a stone made up of
natural debris such as sedimentary grains
and hardened molten plastic. The term was
proposed by Patricia Corcoran, Kelly Jazvac
and Charles Moore, An anthropogenic marker
horizon in the future rock record, 2013
Rosa Menkman How Not to be Read (a recipe using DCT) 2016 #recipe #sense #break
Author Project Year Format Theme Action

Recipe for using the

aesthetics of JPEG
macroblocks to mask a
secret message as error

How Not
to be Read
(a recipe
using DCT)
How Not to be Read (a recipe using DCT)
Project
Mesmerised by the screen,
following the moves of the next
superhero, I was conditioned
to ignore the dust imprinted on
celluloid and oating through the
theatre. The dust that touched
the light of the projection and the
dust oating towards nowhere.
Dust that made up tiny universes
of plant, human and animal bres,
indenitely mixed with particles
from burnt meteorites, volcanic
ashes and soil from the desert.
I never payed attention.
The JPEG compression involves
6 subsequent steps. These
steps can be found not only
on Wikipedia, but additional
reections can also be found in
work made by artists such as
Cory Arcangel (On Compression),
Ted Davis (http://ffd8.org/) and
by Paul B. Davis (Codec).
During the most important
step of the JPEG algorithm,
the compression employs a
mathematical technique known as
Discreet Cosine Transform, to
compress the amount of image
data needed to transport,
store, and present the image.
DCT consists of a nite set of
patterns, called macroblocks, that
can could also be described as a
set of 64 glyphs, which, through
the addition of intonation, by
luma- and chroma-values, make
up the JPEG image. If an image
is compressed correctly, its
macroblocks become invisible.
The incidental trace of the
macroblocks is generally ignored
as artifact, impurity of the image
or error. Keeping this in mind, I
developed DCT.
A resolution determines what is
read and what is not.
DCT uses the aesthetics of JPEG
macroblocks to mask its secret
message as error. Because the
legibility of an encrypted message
does not just depend on the
complexity of the encryption
algorithm, but also on the
placement of the data of the
message. The encrypted message,
hidden on the surface of the image
is only legible by the ones in the
know; anyone else will ignore it like
dust on celluloid.
#recipe #sense #break
Format Theme Action
RLE stands for Run Length
Encoding, a step within the JPEG
compression that involves arranging
the image components via a zigzag
order. 010 000 101 1111 refer to
the binary values of the 64 most
used ASCII glyphs
How Not to be Read, a recipe
using DCT:
To prepare the JPEG you want
to write your secret message
on: choose a lo JPEG base
image on which macroblocking
artifacts are slightly apparent.
If necessary, you can scale the
image up via nearest neighbour
interpolation, to preserve hard
macroblock edges of the base
image.
Download and install the DCT
font -Positioned your secret
message on top of the JPEG.
Make sure the font has the same
size as the macroblock artifacts
in the image
atten the layers (image and
font) back to a JPEG. This
will make the text no longer
selectable and readable as copy
and paste data.
XXX
Catherine ScottXXXThe Honesty of Extrusion 2016XXX #XXX#methods
#XXX
#matter #XXX
#extrude
Author
Author Project
Project Year Year Format Format ThemeTheme Action
Action

TitleHonesty
The
of Extrusion
Short description
In terms of a
purely empirical
understanding
of the Superficial
Aesthetic of 3D
Printing, the
impossible
aesthetic is almost
the antithesis
of the extruded
aesthetic.
The Honesty of Extrusion
Project
Beyond prototyping, the current1 crop of non-
industrial 3D printers (domestic, personal, desk-top
etc.), offers little or no Relative Advantage2, other
than for artistic3 purposes. Most output is either part
of a larger process, requires post-printing finishing or
simply shouldnt be printed (and prototyping, by its
very nature, is part of a grander scheme).
There is no doubt that the quality and structural
integrity of 3D printed output will improve, to the
extent that functional, ready to use objects will
(eventually) emerge straight from the print-bed. For
now, however, the structural integrity of many fresh
prints is only suitable for prototyping.
The forward-march of 3D printing is engineering
structural integrity into the printed artifact and
engineering the superficial aesthetics out of the
printed artifact, and FDM/FFF seems to be on the
wrong side of this evolution.
The Superficial Aesthetic of 3D printed
Artistic Output
The term aesthetic has myriad meanings (Koren,
2010), one being artistic nature which is explored
further in the more expansive research from which
this essay is drawn4 ; another definition describes
those attributes that are sensed, or: what is seen,
heard, felt, smelt and tasted. As little 3D printed
artistic output is, as yet, designed for the appreciation
of its taste, smell or sound, the Superficial Aesthetics
considered here are visual and tactile.
Layers are intrinsic to 3D printing, however the
layered look is essentially the aesthetic of the code
rather than the output. Fused Deposition Modelling
(FDM) or more correctly Freeform Fabrication
(FFF) has a seemingly layered aesthetic, however it
is not the actual stl. code that dictates the appearance
of these striations, it is a combination of the extrusion
nozzle and the rheology of the non-Newtonian
fluids, such as clay slip and molten polymers, being
expressed through it. The internal residual stresses
dictate the curved surface meniscus of the solidifying
form and this particular Extruded Superficial
Aesthetic can never be engineered out of the actual
printing process. As resolutions get finer and finer
(but never fine enough to avoid those unwanted
surface issues, largely pertaining to hygiene,) the
print time will get slower and the process will be
superseded by an alternative evolved 3D print
technology such as Digital Light Processing (DPL),
that gains the crucial Relative Advantage. There
are also gravitational issues which, regarding the
structural integrity of lower layers of an extruded
#methods #matter #extrude
Format Theme Action
structure, will always cause limitations to printing
speed for the FFF process (Perrot et al., 2016.)
The second recognisable Superficial Aesthetic (SA)
in non-industrial printers is the slightly blurred,
sand-stone appearance produced by many sintering
and jetting machines; expiring patents will be
responsible for the on-coming proliferation of these
machines at relatively affordable prices, along with
print-bureaus that attract customers with sand-stone
effect, bastardisations of Mobius strips and streaky
bacon. This granular flaw will either be engineered
out of these machines, or they will be superseded by
printers that lay down material in diaphanous mists,
barely atoms thick. Either way, the mantle-pieces of
the future can look forward to being adorned with
glorious family portrait statuettes in sharp focus, or
possibly a Yoda, so detailed that it looks like genuine
merchandise.
Impossibility could also be considered a superficial
aesthetic of 3D printing, however, a degree of prior
knowledge about manufacturing viability is required,
in order to appreciate the usual infeasibility of the
artifact in question. In terms of a purely empirical
understanding of the Superficial Aesthetic of 3D
printing, the impossible aesthetic is almost the
antithesis of the extruded aesthetic. Printing a
Gyroid5 in one piece, or even a whistle with a loose
pea inside it for that matter, intrigues the viewer at
first, but the novelty wanes by the time the third or
fourth mathematical abstract has be made manifest.
The curious appeal is in the cleverness of the process,
and once that has been figured out and understood,
the novelty wears off. Extruded 3D Printed Artistic
Output offers no such intrigue.
Artistically, the printing of impossible things merely
demonstrates the technology, whereas extrusion
(largely because of its honesty) can use the technology
to demonstrate the art; which is the point at which the
Stephen Hoskins considers that the technology has
gained artistic credence (Hoskins, 2013. p. 78)
1
2
Midway through the second decade of the 21st Century
Relative Advantage, as those familiar with Rogers Diffusion Theory
will be aware, is the main driver of most human behavior (i.e.: whats in
3
it for me?) (Rogers, 2003)
Artistic out-put is largely identified by the maker and interpreted by
the viewer; art status is usually conferred by those who believe they
know better. There is much 3D printed output that will lay claim to
artistry; this essay neither refutes nor supports these claims but will
refer to all that presents itself as such, as Artistic Output
4 Doctoral thesis entitled The Nature and Aesthetics of 3D Printed Artistic
Output
5 www.bathsheba.com/math/gyroid/
The Honesty of Extrusion #methods #matter #extrude
Project Format Theme Action

Figure 1. Extruded Object i (Catherine Scott 2015)

Figure 2. Web of Bones Extruded Object ii (Catherine Scott 2015)

The Honesty of Extrusion
Project
The Superficial Aesthetic of extrusion is
particularly honest
Relative advantage has already been cited as a driver/
barrier in the uptake of 3D printers. If the hardware
can perform a task better than an existing process,
the machines will successfully diffuse. However,
finding a unique task for these machines eliminates
the need for relative advantage. Rather than trying
to force the technology to take on tasks at which it
cannot yet compete, new avenues should be sought
for 3D printers, but it is unlikely to be the hardware
developers that dictate any novel use (much like Tim
Berners-Lee did not have cats doing hilarious things
at the forefront of his intentions when he gifted us the
Web). Instead it will be experimental users, possibly
those exploring the machines as craft-tools and even
as an artistic medium in its own right.
There is the potential to exploit the extruded aesthetic,
largely regarded as a flaw, by exaggerating it and
lowering the print resolution to uncover the very
essence of the material construction. Laying bare form
in this way is not unusual.
Skeleton watches, exposed brickwork, visible building
services and even television programmes about how
its made all communicate visually, how an object
exists, the observer uses the superficial aesthetic to
create their own understanding, taking a constructivist
approach.
The extruded 3D printed aesthetic explains the growth
of an object, like the annual rings of a tree, the
rapidly marked skin of an expectant mother or even
geological superposition that allows archaeologists
to trace time, back through millennia. Work such as
Dave Lobsers Experimental G-Code6 ; Dirk Vander
Kooijs chairs7 ; Oliver van Herpts experiments with
randomness in ceramic printing8 , and Emerging
Objects GCODE.Clay project9 , all wear the evidence
of extrusion with pride.
It is within this honesty that the aesthetic of
#Additivism may lie. This exposure is without guile
or trick or disguise. Of course the nature of the
artistic output can be something entirely different,
depending on what the artist is trying to communicate
i.e. why it is, but the Superficial Aesthetic is all
about how it is. The SA is understood purely on what
is observed in the output and as such, the specific
manufacturing process becomes irrelevant and the
aesthetic becomes independent. The observer may,
or may not, know what 3D printing is, they may
assume that a 3D printed artifact has been made by
some other method, or they may look at an extruded
#methods #matter #extrude
Format Theme Action
object and assume it has been generated from code.
Much like a contemporary child, expertly versed in
Minecraft, might describe the superficial aesthetic
of an unfamiliar Richard Paul Lohse, or Paul Klee
painting as pixelated.
The independence of the Superficial Aesthetics
of 3D printing
This independence can be understood through the
lens of 3D printing, however, the broader lens of
#Additivism allows both the artist and the observer
the freedom to communicate and understand without
condition (and even without a 3D printer.) Figs. 1 & 2
are both earthenware objects, both have an Extruded
Superficial Aesthetic and one is named Web of Bones,
for no reason other than that is what it looks like. Both
are explorations of control versus randomness, and
part of a larger body of research, but no observer
needs to know that to draw their own, completely
legitimate, meanings from the pieces.
Catherine Scott is a PhD candidate at Ulster
University, researching The Nature and Aesthetics
of 3D Printed Artistic Output. A Ceramicist and
former Architectural Technologist, she is currently
an Associate Lecturer in Design and Sustainable
Innovation at the Open University.
Hoskins, S. (2013) 3D printing for Artists,
Designers and Makers. London: Bloomsbury.
Koren, L. (2010) which aesthetics do you mean?
ten definitions. California: Imperfect Publishing.
Perrot, A., Rangeard, D. and Pierre, A. (2016)
Structural built-up of cement-based materials used
for 3D-printing extrusion techniques, Materials
and Structures, 49(4), pp. 1213-1220.
Rogers, E. M. (2003) Diffusion of innovations, 5th
ed. New York: Free Press.
Image credit Fig 1&2: Claire Scott Photography
6 www.dlobser.com/Vessel
7
8
www.dirkvanderkooij.com/collections/collection
www.oliviervanherpt.com/3D-printing-ceramics/
9 www.emergingobjects.com/project/gcode-clay/
Ryan Hammond Synthetic Hormonal History Map 2016 #blueprint #resistance #morph
Author Project Year Format Theme Action

Reflections on the
democratization of
pharmaceutical production to
enable personal ownership of
biocaptial

Synthetic
Hormonal
History Map

Because of its hardiness, responsiveness to genetic
transformation, and the abundance of knowledge we
have on the plant, tobacco is often used for molecular
pharming of vaccines and medicines. Could the
development of a steroid hormone producing plant
enable people to grow their own therapies taking
biomass to community extraction and purification
facilities, and receiving cheap or free supplements
in return? Can phytosterol rich plants such as soy
and yams be metabolically engineered to produce
progesterone, testosterone, and estradiol within their
own tissues skipping the step of extracting the
phytosterols and fermenting in microbial bioreactors?
As Synthetic Biology reveals new technologies and
manufacturing possibilities which disrupt current
practices, can we redesign ownership paradigms to
create a society based on biological abundance? Can
biohackers develop these technologies and dedicate
them to the public domain before companies race to
patent?
Synthetic Hormonal History Map
Project
An algal bioreactor might be a desirable alternative to
a slow-growing tobacco or soy system, while retaining
the benefits of being photosynthetic (not needing added
sugar, being less susceptible to contamination).
Automated Solid phase extraction for purification of
hormones from urine could enable personal ownership
of hormonal biocaptial. Could a home extraction unit
enable partners or friends to share hormones? Could
#blueprint #resistance #morph
Format Theme Action
a bioapothecary/community pharmacy enable people
to deposit the hormones they excrete and receive
compensation? Would democratizing pharmaceutical
production necessarily mean increasing patients
vulnerability to exploitation and quackery as was
rampant in the early 20th century with organotherapy
and other treatments? Or can we imagine new
regulatory systems that arent predicated on centralized
manufacturing?
Synthetic Hormonal History Map
Project
1849
Experiments demonstrate
behavioral and physiological
changes in chickens and capons
(castrated roosters) after receiving
abdominal testicle transplants.
1875
Lydia Pinkhams Vegetable
Compound came onto the market
advertised to women for many of
the ailments which were commonly
treated with oophorectomy
(removal of the ovaries) at the
time. The compound was based
off of a traditional recipe of plants
containing phytoestrogens and
other chemicals useful in the
treatment of menstrual pains and
menopause symptoms.
late 1800s
Ovaries were thought to cause
hysteria, anorexia, anxiety, and
nymphomania, oophorectomies
were performed regularly to treat
these conditions.
1889
Brown Sequard sets off an era
of organotherapy after publicly
claiming that an aqueous extract of
animal testicles had increased his
urine stream, revived his vitality,
and boosted metal focus and
clarity.
1889
The term hormone is first used,
coming from the Greek hormn
meaning, to set in motion
19121920s
Testicles are harvested from farm
animals, prisoners, and people in
asylums for transplantation into
patients seeking treatment for
ailments ranging from epilepsy, to
anxiety, to sexual dysfunction.
1923
Hormones are purified from pig
ovarian follicular fluid
1927
Oestrogen is discovered and
purified from the urine of pregnant
women.
1928
Progynon, a mix of conjugated
oestrogens extracted from the urine
of pregnant women is marketed to
women going through menopause
1930
Conjugated Oestrogens (protein
bound) are discovered in the urine
of pregnant mares and put on the
market as orally active hormones.
1931
15mg of androsterone is isolated
from 15,000 liters of urine from
young police officers in Berlin
1935
Testosterone became commercially
available in the form of testosterone
propionate pellets, a short acting
formula
1935
10mg testosterone is extracted from
100kg of bull testicles
#blueprint #resistance #morph
Format Theme Action
1935
The chemical synthesis of
testosterone is developed and
published
1938
Ethinyl Oestradiol was synthesized,
and the first synthetic steroid
(Diethylstilbestrol) was discovered.
Both are long lasting and highly
active.
1943
A new method is developed for
producing progesterone from the
phytosterol called diosgenin: a
cholesterol like substance abundant
in wild Mexican yams.
1940s1950s
From the 1940s to the 50s virtually
all steroid hormones were produced
from Mexican yam diosgenin. The
Mexican government nationalized
the yam and blocked export
to monopolize the industry. All
attempts to grow the yams in other
countries were unsuccessful.
1976
The Mexican government raises
Diosgenin prices by 250%
prompting a shift to production of
steroid hormones through microbial
conversion of stigmasterol from soy
plants.
Keeley Haftner Desktop Recycling: 3D 2016 #recipe #kipple #collapse
Author Printing as Closed Loop Year Format Theme Action
Project
Recipe for creating 3D prints
using found, disposable
materials

Desktop
Recycling:
3D Printing as
Closed Loop
Desktop Recycling: 3D Printing as Closed Loop #recipe #kipple #collapse
Project Format Theme Action

Closed loop 3d printing

The initial investment in equipment can be daunting, but once you have invested
in your larger items, your work from then on is completely cost-free! These items
include: an extruder ($650-$1400), a heavy-duty shredder ($450+), and a 3D printer
($300-$2500).

The most important investment is your extruder. Many cities these days have public
libraries or maker spaces where you can use 3D printers for free or for very little
cost. You can put off the purchase of your Reclaimer as long as you need to and
simply save your failed prints until youve acquired one. In the meantime a blender
works great for rafts, thin prints, and light cups or bottles.

Ingredients: Used PLA cups*

Soap or dish gloves and dish cloth
Rack (for drying cups)
Large scissors (that you dont
mind dulling)
Blender (that you dont mind abusing)**
Filament extruder (I use the Filabot)
Digital calipers
Digital scale (optional)
FDM*** 3D printer with fan for PLA^
Reclaimer for failed prints
see step 9

*Marked with #7 PLA, and/or industrially compostable

**I found my blender using Freecycle.org. Also check the free section of Craigs List/second-hand stores
***Fused Deposition Modeling the Cartesian hot glue gun
^If you are planning to invest in your own 3D printer, get one with a heated platform and a fan so that you can do both PLA and ABS printing
Desktop Recycling: 3D Printing as Closed Loop #recipe #kipple #collapse
Project Format Theme Action

Steps: 1. Collect: Collect used, disposable PLA cups. More and

more smoothie joints and cafs are using them. They
are marked with the #7 PLA identification code, or with
the term industrially compostable.

2. Wash: Because other people have eaten/drunk from these

items, it is wise to use dish gloves and let the cups
soak for a bit before washing. Diligently remove all
foreign matter, like food or stickers. Make sure they
are thoroughly dry before proceeding to step 3
moisture will negatively affect the extrusion process.

3. Cut: Cut into approximately 1"-2" square pieces

4. Blend: First on a lower speed and then higher speed

until you have well-shredded shrapnel with no larger
pieces. Your aim is to achieve the overall effect
of virgin plastic pellets, which are akin to small
plastic beads.
Desktop Recycling: 3D Printing as Closed Loop #recipe #kipple #collapse
Project Format Theme Action

Steps: 5. Extrude*: Every extruder is different, and each comes

with intensive instructions of how to operate them.
Getting the right diameter (1.75mm) can be tricky,
but its important to get the hang of it or your 3D
printer may not be able to feed the filament through.
Remember: you can always re-cut/blend failed filament
and feed it through the machine again, so there is
no harm in trial and error! Digital calipers are
necessary to gauge the diameter accurately.

6. Get STL File: Download or create your own by scanning

or fabricating digitally. Tinkercad is an excellent
free online resource for beginners, and Thingiverse
has tons of open-source free downloads. Use Cura
or your favorite 3D print software to estimate how
much filament you will require. Weigh or measure your
filament to ensure you have the correct amount (with
some extra, just in case).

* W A R N I N G : best practices are important here

PLA is considered a safe plastic to melt but little
research has been done to as to the nature of the
plasticizers in PLA, or to confirm its long-term effects
beyond doubt. Err on the side of caution and work in a
well-ventilated space, and possibly consider wearing a
NIOSH-rated vapor mask.
Desktop Recycling: 3D Printing as Closed Loop #recipe #kipple #collapse
Project Format Theme Action

Steps: 7. Heat printer/load filament: Use a raft whenever possible

to help the print adhere to the platform. Remember,
this and other scraps can also be remade into new
filament. Keep a collection bin for scraps to use for
your next batch.

8. Print!

9. Destroy and remake filament: Failed or detestable

print? Not to worry. Use your Reclaimer or
equivalent technology to break down the print and
extrude again as new filament. In 2016, heavy-duty
shredders are hard to come by, and expensive because
of their custom steel parts. Hopefully that will
change. For now, be on the hunt for a robust shredder
that you can modify or use for this purpose (a meat
grinder? An industrial food processor? Steer clear of
wood chippers and paper shredders). Remember, you are
a maker! Be creative, and share your results!

Congratulations!
You now have a closed-loop desktop recycling system
for 3D printing. Rinse and repeat, and never buy
materials again!
Desktop Recycling: 3D Printing as Closed Loop
Project
This recipe goes through the
materials, methods, and results
of the artists process of taking
industrially compostable PLA
cups from cafeterias, converting
them into 3D printing filament for
additive manufacturing, and printing
denser cups from that filament.
The cycle, in theory, could be an
ostensibly endless closed-loop
with the addition of a final piece of
robust equipment that could break
up the resultant printed cup. Once
again in shrapnel form a form
similar to virgin plastic pellets the
cup could then be fed back into
the filament extruder to produce
subsequent filament and cups,
thus completing the loop. Unlike
SLA printing (stereolithography),
which uses thermoset plastic that
cannot be recycled, FDM printing
(fused deposition modeling) uses
thermoplastics like ABS, PLA, and
PET, which can be remelted and
reused almost indefinitely.
Now is an opportune moment to
address the so-called plastic junk
produced by 3D printing that is a
key point of criticism for additive
manufacturing. Opinions around
the topic are extreme articles
often portray 3D printing is either
the romantic site for the modern
industrial revolution of makers
who harken a future era, or as yet
another elite frivolity producing
unnecessary consumer garbage.
The reality is a complex state
of in-between. The majority of
FDM prints are made using PLA
(polylactic acid), a waste product
from agricultural industry typically
recouped from corn and sugar
production. It is industrially
compostable, which means exactly
what it implies: that on an industrial
scale, it can be composted.
Industrial composting consists
of mounding large-scale piles of
organic matter and dirt, allowing
these materials to combust and
reach high temperatures. These
piles are overturned and cycled
with large-scale equipment until the
matter has broken down entirely
and become soil. PLA cannot
be composted in backyards, it
contaminates recycling streams
when lumped in with other
recyclables, and it has the same
(nearly infinite) lifespan as other
plastics if it ends up in the landfill,
the ocean, or as litter on the
ground. Because 3D printing
typically doesnt involve embedding
the SPI (Society of the Plastics
Industry) Identification Code
number onto your print, its safe
to say that these plastics rarely, if
ever, end up where theyre meant
to go. But they could, if people
knew more. This only speaks to the
complications of using PLA to make
3D prints, not to the other plastics
that are nearly as commonly used,
like PET, ABS, nylon, etc.
#recipe #kipple #collapse
Format Theme Action
This work looks to stimulate
conversation around small-scale
plastics manufacturing, debunk
myths around FDM printings
nature and potential, and offer
up a complicated solution to the
wildly problematic production of
disposable waste in North America
and worldwide. Systematic policy
decisions enacted in the United
States have global affects on what
and where disposables are made,
how much and how often theyre
produced, and where they end up
once they are called into being. And
yet moralist consumer guilt is often
used as a tool to shirk responsibility
for these political and economic
decisions, which is exemplified
in the rhetoric around recycling,
the restriction of water and power
use, and other bandage solutions
to systemic problems. Additive
manufacturing and other novel
technologies are often marketed
to consumers as solutions to
self-destructive human behavior.
Through the act of creating a
consumer-scale recycling plant
in my studio using cutting-edge
technologies to produce objects
of limited use, I hope to question
the efficacy of the consumer as
redeemer, in favor of collective
re-examination. But as a passionate
producer of objects, I also celebrate
the power of the maker, both to
contribute to collective solutions, and
to take issues into her own hands.
Nadav Assor Universal Enzyme 2016 #fabulation #futures #break
Author Project Year Format Theme Action

Universal Enzyme

I can have a
thousand legs,
or none at all,
but many trunks,
or a slope. I can
be amorphous,
any gender, any
species, every
substance. I can
be a We.
Nadav Assor Universal Enzyme 2016
Author Project Year
Things are going to slide, slide in all directions
Wont be nothing
Nothing you can measure anymore
The blizzard, the blizzard of the world
has crossed the threshold
and it has overturned
the order of the soul
from Leonard Cohen, The Future
The universe is dying.
Certain parts of it are simply dying more slowly than
others.
Eternity is an aspirational concept, like light speed.
One can only draw this much closer to it, never quite
getting there.
The parts of our universe that will survive the longest,
and may even manage to squeeze through the tiniest
of cracks, pinhole sized wormholes between this
dying universe and fresher ones, are those smallest
bits of energy carrying nothing but information .
Our own sapient simian species has been acting,
for the most recent bleep in its short existence, as a
universal enzyme, digesting and transmuting matter,
life, and ideas into the ephemeral universal substance,
encoded information. This may be seen as a blind
drive towards the ultimate possibility for survival of
the species, everything from flesh to concrete riding
the upwards curve towards eternity as bits of light,
not blobs of matter.
Now
We have (some of us) entered the pixelated age, the
time of accelerated and additive production.
Now
We are (some of us) at a turn, a fuzzy merging of
trajectories. The age-old urge to see and distill
an essence, a complete understanding of anyone
and everything (think about animistic rituals,
surgical theater, reincarnation cults, psychoanalysis,
astrological charts, phrenology), is finally colliding
with the technologies that espouse to enable us to do
just that (think about DNA testing, 3D scanning, full
city surveillance, data logging, packet sniffing, mass
spectrometers).
The result is the project of Total Capture. It has
already begun, though erratically, uncoordinated.
#fabulation #futures #break
Format Theme Action
It moves past this point, gathering force, direction,
intention. A panoply of parts come together in a series
of tactics, methods and mechanisms, their ultimate
goal the encoding of the complete information-specter
of the world.
Some key systems of Total Capture, and their
consequences are:
Capture Agglomerator: accepts all available data
sources about a specific object. Processes a congealed
stack of 2,3,4D scans, point clouds, footage,
recordings, readings, sensings, histories, and all layers
of encoded information within the object (e.g if its
a smartphone, all electronically stored information
from within it will be gathered alongside its physical
form). Generates an info-specter of the object.
The Agglomerator may be realized as a meeting, a
physical place, a combination of devices, or a solitary
machine.
Destructive Bio Scanner: thoroughly scans the deep
tissue of any biologically based object, while literally
digesting it, resulting in both a usable info-specter
and a 3D printable pool of bioplastic. In a world
as precariously perched over the abyss of ecocide,
the use of all manner of destructive scanners is
encouraged. Better to fill the world with ghosts than
to turn it into a corpse.
Universal Tag Vector System: A series of viruses
(for bio-matter), or self-replicating nanobots (for
inorganic matter). These are made to eventually infect
everything. Every tree, every leaf, every animal,
every pebble, every pool of water becomes a fully
networked, self-reporting cluster of nodes on the
universal tag system. Of course, all manufactured
goods at this point are already a part of this system.
The viruses and the bots communicate ceaselessly,
filling the bionetworks and the airwaves, the ground
and the waters with their minuscule exchanges,
maintaining a common code, a constantly up to date,
real time, fully fleshed-out digital doppelganger, the
Ghost of the World. The Ghost is not a simulation: it
is the total image of the world, doubled, dispersed in a
planetary-scale cloud of interconnected, microscopic
data-centers.
With the Ghost of the World in place, all access is
enabled to all things (all things that have been tagged,
and now possess a digital soul).
With bioplastics as the vehicle, personal and
functional objects may be recalled and dissolved,
as can entire structures. Other, older edifices and
public monuments may be allowed to fall into ruin
Nadav Assor Universal Enzyme 2016 #fabulation #futures #break
Author Project Year Format Theme Action

or even accelerated in their demise, pulled apart for

increasingly rare raw material, to be replaced by
the glowing, forever perfect, ethereal clone of their
perfect form (only visible by those that are tapped in,
modified, with access to the global network). Endless
fluidity over time becomes a possibility: a structure,
an object may be reconstructed as any combination of
its form over any period or combination of periods in
time.

With the Ghost of the World in place, one (who

has the privilege of access) can finally and fully tap
ones senses, their awareness, into the whole and the
partial nature of objects, or into the fully tag-infected
bodies of others, that may tap back into you in return,
all via the universal network, as facilitated by the
Ghost. If I am tapped in, and the cells in my body
and the cells in the tree are speaking to each other, I
can for a moment be a tree, and the tree can be me.
The world becomes simultaneously as interconnected
and as dispersed as a morass of random access bits,
tenuous connections forming and dispersing between
physically disparate groups of nodes. So that not only
can I switch my whole sense of being with that of a
tree, I can do so in whatever arbitrary fractionality
that I choose. My right index finger can be a leaf, my
left eye, an airplane en route to Tokyo, my guts the
sewer system of a medium sized city in the Persian
Gulf. I can eat what my parents are eating in the
Middle East, and sit with one leg on a concrete bench
in a city plaza, and another dangling in a river. I can
have a thousand legs, or none at all, but many trunks,
or a slope. I can be amorphous, any gender, any
species, every substance. I can be a We.

Perhaps this newfound distribution of consciousness

promotes a redistribution of resources. Perhaps the
nature of the experience is such that it promotes
utter empathy between all fellow beings, human and
non-human. But it is quite possible (more possible)
that it will not. That this ghostly world with all
that it enables, will preserve and even exaggerate
the inequities of the old, hardcoded source, or will
generate new ones.

With the Ghost of the World in place, the long process

of digestion will have ended, one step closer to
eternity, or as close as it gets for us humans.

With the Ghost of the World in place, we will no

longer be referred to as human.
Benjamin Grosser Adding to Subtract: 3D Printer Recipes 2016 #recipe #resistance #deface
Author to Disrupt Our Desire for More Year Format Theme Action
Project

Adding to
Subtract: 3D
Printer Recipes
to Disrupt Our
Desire for More

The following
two recipes
are additivIST
proposals to
intervene in the
culture of
more.
Adding to Subtract: 3D Printer Recipes
to Disrupt Our Desire for More
Project
For years 3D printing has been expected to
democratize manufacturing. By extruding a bead of
plastic layer by layer, this technology lets individuals
create physical objects from virtual models. But
what ideologies are embedded in this endless stream
of processed petroleum? Does 3D printing free
consumers to be creators or does it reinforce existing
power structures? What is the relationship between
capitalisms need for growth and the 3D printers need
for more plastic? With the following paragraphs I
argue that additive technologies reflect, support, and
extend a culture that always craves more, and propose
two additive recipes that aim to neutralize this cultural
imperative.
We live in an era of constant measurement. Our actions
are both driven and evaluated by numbers. This
often starts with school, where childrens academic
performance is assessed using test scores. Our
accountability grows as our bodies do. Amazon tracks
every second its workers spend to retrieve and ship
a product.1 Corporate managers are ranked against
each other using measurements of productivity.2
Health insurance companies utilize numbers to surveil
patient compliance with prescribed treatments before
supporting or declining claims.3 In other words we are
constantly assessed, tracked, ranked, and surveilled
through metrics.
Technology particularly software has expanded
and accelerated a shift into audit culture. It is software
that gathers the metrics necessary to evaluate worker
efficiency or patient health. But it is not just our
actions in physical space that are tracked in these
ways. Software collects, stores, analyses, and reports
on every aspect of daily life, determining what we see
and who sees us. The number of likes we click on
Facebook changes the content of our news feed.4 The
amount of email we send to overseas family members
affects the likelihood our email is read by an NSA
analyst.5 Neoliberal ideology asks us to consider every
interaction as a transaction. Every action has a value,
and this valuation governs our lives.
Audit culture wants more. In everything from worker
productivity to actions on Twitter, more is better than
less. If we create more widgets per hour we rank higher
than our peers. If we get more followers on Twitter,
our speech reaches more people. Capitalism is a world
system that requires an endless growth of products and
consumers.6 This need for growth informs everyday
life and drives a collective desire for more.7
3D printing is a technology in ideological alignment
with and thus supportive of audit culture. Just as
this era of measurement drives us to excel in metric
#recipe #resistance #deface
Format Theme Action
terms, 3D printing technology manifests in physical
space as a fetishisation of addition. 3D printing is
an additive process that builds objects through the
accumulation of layers of material. Just as a Facebook
user without regular new posts becomes less visible to
their friends, a 3D printing process without addition
builds nothing. Just as corporate manufacturing
enables the production of new material products
without caring for the old, 3D printing lets everyone
transform oil into plastic objects that will never go
away. Additive manufacturing thus reflects and fuels
capitalisms need for growth, and reinforces the
imperative it creates: more is better.
How might we use the ideology of the 3D printer
against itself? 3D printers are being used to create
everything from printouts of our heads to one-off parts
for obsolete machines. Additive manufacturing helps
multinational corporations prototype new products
meant for millions (or billions) while also enabling the
creation of short-run objects for the long tail8 (further
enhancing capitalisms creation of and reach into new
markets). Can we use the additive mechanism of 3D
printing to disrupt the control of and our accountability
to audit culture? Can we print objects that limit
accountability structures, mechanisms, directives, and
interfaces? Put another way, can we add to subtract?
The following two recipes are additivist proposals
to intervene in the culture of more.9 The first is
ready to bake today, enabling personal action against
found metrics within physical space. The second is
speculative, imagining an eventual post human blend
of additive technologies with the body that could
suppress audit culture by disrupting our reliance on
metrics in everyday life.
1 Kantor, Jodi and David Streitfeld. Inside Amazon: Wrestling Big Ideas
in a Bruising Workplace, The New York Times, Aug 15, 2015.
2 See Welch, Jack and John Byrne, Jack: Straight from the Gut (New
York, NY: Warner Business Books, 2001), for a description of forced
ranking used in corporate management.
3 For example, see Schwab, Richard J. et al. Continuous Positive
Airway Pressure Adherence Tracking Systems, Am J Respir Crit Care
Med Vol 188, Issue 5, pp 613620, Sep 1, 2013. 5, pp 613620, Sep 1,
2013.
4 Bucher, Taina. Want to be on the top? Algorithmic power and
the threat of invisibility on Facebook, New Media Society
2012 14: 1164, originally published online 8 April 2012. DOI:
5
10.1177/1461444812440159.
Savage, Charlie. N.S.A. Said to Search Content of Messages to and
From U.S., The New York Times, Aug 8, 2013.
6 Graeber, David. Debt: The First 5,000 Years (Brooklyn, NY: Melville
House, 2011), 346.
7 I discuss this concept of a desire for more at length in: Grosser,
Benjamin, What Do Metrics Want: How Quantification Prescribes
Social Interaction on Facebook, Computational Culture, Issue 4, 9
November 2014.
8
9
Anderson, Chris. The Long Tail, Wired, October 2004.
Allahyari, Morehshin and Daniel Rourke. The 3D Additivist Manifesto,
2015.
Adding to Subtract: 3D Printer Recipes
to Disrupt Our Desire for More
Project
Recipe 1: Print Metrics to Hide Metrics
1. Find metrics in your physical environment. These
might be numbers on a sign that track the meters to
the next McDonalds, the current state lottery total,
or, with todays networked and animated billboards,
the hours, minutes, and seconds left until the nearby
Dunkin Donuts opens.
2. Measure the height and width of the metrics.
3. Photograph the sign with its metrics clearly visible.
4. Use a font identification app to determine which
font was used to print the metrics.
5. Create numbers with that font that match the
photographed metrics using a vector drawing
app, import them into a 3D printing program, and
extrude as appropriate.
6. 3D print the numbers at the previously measured
height and width.
7. Spray paint the numbers to roughly match the
original color of the metrics in the photograph.
8. Affix the 3D printed metrics to the sign so that
they occlude and thus, obscure the 2D metrics.
The choice of adhesive is yours, whether its a
temporary solution such as double sided tape or
something more permanent like superglue.
9. Photograph the modified sign and post to
social media using hashtags #addtosubtract,
#hidethemetrics, and #additivism. Leave the
numbers in place indefinitely.
Recipe 2: Print a Vision Manipulation System to
Erase Metrics Everywhere
In 1945, Vannevar Bush imagined and described
a number of technologies in his article As We May
Think.10 From dry photography (digital cameras)
to a camera on ones forehead (Google Glass), from
associative trails (hypertext) to the memex (a
personal database), Bush imagined future technologies
based on need. Without knowing how these
technologies might be assembled, he charted a future
that includes them. His work was eerily predictive; as
technology advanced, others started to create the very
objects he imagined.
Science fiction also imagines new technologies of the
future. In the movie They Live11, a man discovers that
earths elite are really aliens disguised as humans. The
aliens control society using hidden messages in mass
#recipe #resistance #deface
Format Theme Action
Illustration by Stephanie Lenchard Warren
media that encourage endless spending and acceptance
of the way things are. The mans discovery is enabled
when he finds a special pair of sunglasses that show
the world as it really is, revealing the aliens true
appearance and the hidden messages everywhere.
These kinds of speculative designs12 develop
alternative visions of the future based on critical
understandings of the present. With this in mind I
now outline a future additive technology to radically
neutralize everyday metrics. We already have 3D
printers that output non-plastic objects, such as those
that create biomaterials like bone, tissue, and cartilage.
We also have experiments in bioelectric materials
that combine electronics with tissue. Imagine a time
when 3D printers can output a class of objects that
integrate not only with the human body but the visual
cortex. For want of a better term, Ill call these objects
VISNIPS, short for VISual maNIPulators. These
objects, or more accurately, additively-produced
bioelectronics, can be taught to manipulate visual
information as it travels down the optic nerve. Some
might use VISNIPS to insert new information into the
visual data stream, creating an augmented reality that
adds overlays with contextual information. But another
use of the VISNIPS would be to augment vision by
intelligently subtracting visual information. This
subtraction could filter out all metric representations
found in any medium viewed by the human eye. From
metrics on a poster announcing the number of steps
you should take each day to the quantifications in
10 Bush, Vannevar. As We May Think, The Atlantic, July, 1945.
11 They Live. Dir. John Carpenter, Universal Pictures, 1988.
12 Dunne, Anthony and Fiona Raby. Speculative Everything (Cambridge,
MA: MIT Press, 2013).
Adding to Subtract: 3D Printer Recipes #recipe #resistance #deface
to Disrupt Our Desire for More Format Theme Action
Project

social media interfaces tracking ones followers, the

VISNIPS could intelligently identify and surgically
erase each individual metric in our environment
before each metrics visual representation is processed
by the brain.

VISNIPS may take a physical form that suggests vision

manipulation to others, such as a pair of metric-erasing
glasses. In this way the VISNIPS would act as an
inverse of the glasses in They Live; instead of showing
a user the hidden messages that drive our behavior
these glasses would remove the metrics that hide in
plain sight. Another form might be more covert, such
as a bioelectronic printed contact lens. Whatever form
it takes, one could envision this technology supporting
many types of artistic interventions beyond metric
removal, erasing out undesired material such as
propaganda in advertising or specific interface elements
designed to encourage free labor in social networks.
With any new technology it is important to consider Illustration by Stephanie Lenchard Warren

not just its obvious benefits but also its embedded

ideologies and biases. 3D printing technologies
have been and will continue to be touted as a
boon to individual maker culture, democratizing
manufacturing by enabling everyone to be both
engineers and entrepreneurs. But how are the designs
of these 3D printers leading us to act and think? What
points of view do they reinforce? I have argued that
additive technologies both reflect and fuel capitalisms
need for growth, reinforcing a collective desire
for more. With these two 3D printer recipes I have
provided blueprints to thwart that desire by additively
creating an anti-metric that encourages through
the act of subtraction alternatives to our culture of
measurement, audit, and accountability.
Acknowledgements
The illustrations above are by Stephanie Lenchard Warren based on
concepts from the author.
Kayla Anderson Future Reliquaries: Outposts
Author Project
Future
Reliquaries:
Outposts
Future Reliquaries: Outposts is
a series of virtual environments
situated within an Anthropocenic
narrative of environmental
destruction in the name of
digital preservation and virtual
resolution. The larger project Future
Reliquaries is a series of acrylic
2016
Year
sculptures, prints, drawings, and 3D
models. The project engages the
aesthetics of archeology, artificiality,
nature/culture, contradictions of
the sustainability movement and
survivalist environmentalism,
speculative design Posthumanism,
and the Anthropocene.
#methods #postnature #collapse
Format Theme Action
A series of virtual environments
situated within an Anthropocenic
narrative of environmental
destruction in the name of digital
preservation and virtual resolution
Future Reliquaries: Outposts is a
speculation on future archeology
wrapped in the metaphors of
plastic as a material that serves for
preservation but effects a parallel
destruction. The project is inspired
by and will continue to grow in dialog
with the 3D Additivist Manifesto.
Future Reliquaries: Outposts #methods #postnature #collapse
Project Format Theme Action
Future Reliquaries: Outposts #methods #postnature #collapse
Project Format Theme Action
Future Reliquaries: Outposts #methods #postnature #collapse
Project Format Theme Action

North View
One day the things formerly known as Nature
descended upon them. They were told that their world
was ending but for the most part the humans didnt
want to talk about it. Apocalypse was for popular
cinema and the streets of third world countries they
could ignore. Their world was just beginning, they said.
See it here on the screen, increasing resolution beyond
the capacity of the human eye.

East View
They banished the things to the edges of their
communities, to wait and watch the destruction unfold.
Its all about survival, they said. If bees were meant to
keep being, they would learn to feed on the radiation
from cell phone towers. Coast dwellers would learn
to metabolize plastic. The goal was to survive in the
most destructive way possible. To live longer by killing
oneself slowly.

South View
They decided to devote all of their energy towards
reproducing the world as a digital image. They built it
out in three dimensions, wrapped it in textures, taught it
to replicate itself. Meanwhile, on the outskirts the debris
accumulated: melted, extruded, solidified, exchanged
colors and properties through chemical reactions.

West View
One by one strange conglomerates floated in from the
gyre, were exhumed from the rubble of construction
sites, or discovered as if dropped from the clouds onto
barren fields. Their contents were difficult for most to
decipher, their textures less resolute than those in the
virtual world. Somehow, they always appeared flat
upon first encounter, until the viewers eyes adjusted.
Nora Al-Badri and Jan Nikolai Nelles NefertitiHack 2016 #methods #resistance #break
Author Project Year Format Theme Action

An artistic intervention
questioning the singularity,
originality, and ownership
of material objects of other
cultures

NefertitiHack
NefertitiHack #methods #resistance #break
Project Format Theme Action

With the data leak as a part of this counter narrative

we want to activate the artifact, to inspire a critical
re-assessment of todays conditions and to overcome the
colonial notion of possession in Germany.

The Other Nefertiti also known as #NefertitiHack is an artistic intervention questioning singularity and originality
as well as ownership of material objects of other cultures. The artists went into the Neues Museum, Berlin, and
secretly scanned the bust to release the data at the 32C3 under public domain. The data leak was a part of a
counter narrative to inspire a critical re-assessment of todays conditions and to overcome the colonial notion of
possession in Germanys museums. The head of Nefertiti represents all the other millions of stolen and looted
artifacts from all over the world; acts currently taking place, for example, in Syria, Iraq and in Egypt. Archaeological
artifacts as a cultural memory originate for the most part from the Global South, however, a vast number of
important objects can be found in Western museums and private collections. One should face the fact that the
colonial structures continue to exist today and still produce their inherent symbolic struggles.
The Nefertiti 3D model data is provided here under a public domain license.
NefertitiHack #methods #resistance #break
Project Format Theme Action
Behnaz Farahi Synapse 2015
Author Project Year
Synapse
Synapse is a multi-material 3D
printed wearable piece, which aims
to play with the intimacy of our
bodies and the environment to the
point that the distinction between
them becomes blurred, as both
have become a single entity.
The motion of the helmet
is controlled by the
Eletroencephalography (EEG)
of the brain. A Neuroskys EEG
chip and Mindflex headset have
been modified and redesigned in
order to create a seamless blend
between technology and design.
Neuroskys EEG technology has
the ability to assess cognitive load
and measure various data such
as Attention, Meditation, Delta,
Theta, Low Alpha, High Alpha,
Low Beta, High Beta, Low Gamma,
and High Gamma values. EEG
#device #sense #bridge
Format Theme Action
A neuromorphic 3D printed
body architecture
technology allows the recording
and monitoring of the electrical
activity of the brain, produced from
the firing of neurons. The neural
commands related to the attention
level are therefore translated into
actual motions. This operates as
a direct interface that allows users
to interact with their immediate
and non-immediate environments.
The 3D printed helmet was
produced using Autodesks Object
Connex500 multi-material 3D
printing technology, which is able
to print a soft (black) and hard
Synapse #device #sense #bridge
Project Format Theme Action

Multi-Material 3D Printing
White: Solid: Vero white
Black: Flexible: Shore 60

Servos
Attention level are translated into actual motions of the helmet.

Brain Sensor
Neuroskys EEG chip and Mindflex headset have been redesigned.

(white, in this case) in a single
operation. The design of the helmet
aims to provide a flexible/soft
structure which enables maximum
contraction and expansion.
Synapse demonstrates the
possibility of wearable architectures
by engaging with the very latest
and most advanced 3D printing
technologies. The project explores
the tectonic properties of these
new 3D printing technologies
in relation to the human body.
It also engages with a series of
interdisciplinary challenges, ranging
from a technological grasp of how
such environments might be able
to change morphologically to a
psychological and neurological
grasp of how human beings
might themselves respond to
those changes, and become
active agents in remodeling and
redesigning those environments.
Darlene Farris-LaBar Purple Flowered African Violet 2016 #device #postnature #extract
Author Project Year Format Theme Action

Synthetic house plant providing

ironic, postnatural refuge from the
onslaught of climate change

Purple
Flowered
African
Violet
Purple Flowered African Violet #device #postnature #extract
Project Format Theme Action

After 5 million years of genetic differentiation, the wild growing Purple Flowered African
Violet may come to an end because of climate change. Taken from its original habitat
located Eastern Arc Mountains of Kenya and Tanzania over a century ago, this plant is
now better known to many as a conventional house plant. As this vulnerable plant loses
its pristine rocky and moist habitat because of the changing climate, future discoveries of
its amazing genetic adaptation will be lost forever leaving us with an impoverished gene
pool. The Purple Flowered African Violet is just an example of what can happen to many
other indigenous plants dependent on a limited natural places that are being greatly
impacted from actions caused by humans.

Eastern
Arc Mountains
of Kenya and
Tanzania
Mark Leckey The Universal Addressability of Dumb Things 2013 #fabulation #play #extrude
Author Project Year Format Theme Action

3D scans of the objects

assembled in Mark Leckeys
exhibition The Universal
Addressability of Dumb
Things

The Universal
Addressability
of Dumb Things

I was asked back in 2013 by the Hayward Touring

programme to curate a show that would tour around
the UK. So I started to collect things on my desktop.
Google gave me access to most everything I wanted
and led me to things I didnt know I wanted. I built the
exhibition on my desktop: with Photoshop and Final Cut
and Logic the whole thing was there, and it was mine.
I was attached to every virtual object; Id fallen in love
with them.

Then came the real world show, and although it was

lovely to see all these artifacts in the flesh, so to speak,
I couldnt get close to them. They were too precious,
too aloof, too sovereign somehow. They werent my
objects anymore. So I decided to 3D scan them, then
I could get them printed and make them mine. I could
wholly possess them. They would become my own
custom-made repertoire. I dont know what any of this
means, I was just following my impulses. It seemed
like something that was only available to do right now,
that technology was making something new: like the
amplifier was to rock and roll, and that I should just
follow my instincts and let it lead me wherever it was
going to take me.
The Universal Addressability of Dumb Things #fabulation #play #extrude
Project Format Theme Action

I think of this show as a work of fiction: a non-

realist, anti-realist, magic-realist, speculative,
slipstream fiction, a sort of sci-fi show. An inflation
or amplification of the way the world appears to me
now, a shape of things to come. As it seems to me,
the further technology evolves the more our minds
devolve back to the imaginings of our asuperstitious
past. Call it an animistic future or techno-atavism.
The Universal Addressability of Dumb Things is
a world beyond tomorrow when every ordinary,
unthinking object tinned meat, refrigerators, paving
stones becomes an active participant in the Great
Connection. Now I already find objects bewitching
as they endow blessings and inflict punishments
on me every day. And technology seems only to be
increasing their supernatural potency as I sit in front
of my machine and with a touch my wishes are made
manifest. The mental gets materialized.
Mark Leckey
The Universal Addressability of Dumb Things #fabulation #play #extrude
Project Format Theme Action

So lets say that all the objects in the show have

already communicated with each other and theyve
called themselves together. Theyve formed a
Parliament with representatives from the Vegetable
World, Animal Kingdom, Mankind and the
Technological Domain. And the breadth of that
assembly is contained within its two hands: a
Medieval reliquary and a bionic limb. Everything
from one hand to the other is equal in aspect, with
no distinctions drawn between, whether it is organic
or inorganic, from the past or the present, whether
its imagined or real. The full figure of Sputnik
continually girdles the earth as the Giant of Cerne
Abbas stares forever up to the stars and the stars
keep staring back. Mark Leckey
XXX Flusser XXX
Vilm Vampyroteuthian Art 1987 XXX #XXX #postnature#XXX
#methods #XXX morph
Author
Author Project
Project Year Year Format
Format Theme
Theme Action
Action

Title
Vampyroteuthian
Art
Short description
This struggle
fascinates
Vampyroteuthis;
it absorbs
his interest.
This feedback
between emitter
and receiver,
this dialogue, is
the essence of
vampyroteuthian
art.
1 Vilm Flusser, Vampyroteuthis Infernalis, trans. Rodrigo Maltez Novaes
(New York: Atropos Press, 2011)
Vampyroteuthian Art
Project
Both men and Vampyroteuthes are engaged against
oblivion, such fundamental tendency in nature. Both
store and transmit acquired information. Both are
historical beings. Although both are engaged in
memory, we are not so in relation to the same type
of memory. We do not even use the same methods to
store data, and this is the decisive difference.
Men seek to imprint acquired information onto
objects. Other men that pass by the informed objects
will collect the information thus objectified. We trust
the relative presence of the objective world, and that is
why we entrust it with our acquired information. We
trust that informed objects might outlive us, and after
our deaths attest to our passage through the world.
Therefore, humanity hopes to possess two types of
information storage: one for genetic information, the
egg, and one for acquired information, objective
culture (books, buildings, paintings etc.). Thanks to
these two types of storage, humanity considers itself
immortal: through the egg as a species, and through
informed objects as individuals.
Such human trust in the permanence of the objective
world seems quite derisory from the point of view
of those who, like Vampyroteuthis, inhabit a liquid
environment. From this point of view, the only
material for information storage that is worthy of trust
is the egg. Genetic information is aere perennius2
and will not only outlive all books, buildings, and
paintings, but also the species itself, although in a
mutated form. Long after all of the human creative
oeuvre has been reduced to dust, human genetic
information shall continue to be transmitted from
generation to generation, although possibly by a
species evolved from humans. So much so, that the
problem of historical engagement is to elaborate
methods that allow for acquired data to be stored in
the same memory that also stores inherited data. Thus
placing trust in the permanence of the species and
its future development, and not in the permanence
of the objective world. Certainly: such storage and
transmission methods may resort to objects. However,
such objects shall not be storage material, but
transmission channels: media.
It may seem at first glance that the difference of
choice between types of memories and methods is
not that decisive. That it is merely a difference in
emphasis. Men also consider objects as media, and
when they manipulate objects they also seek to
transform them from barriers into communication
channels that transmit information to other men.
Vampyroteuthis also resorts to several types of
objects (colours, lights, sepia clouds etc.), which
he manipulates in order to transmit information
#methods #postnature morph
Format Theme Action
to other Vampyroteuthes. The difference is only
that men trust the permanence of objects more so
than Vampyroteuthes. This minimisation of the
difference, however, would be misleading. Because
man is a being that seeks his immortality in objects,
and that is why he expresses himself through them.
Vampyroteuthis is a being that seeks his immortality
in the Other and that is why he expresses himself
in others through objects. These are two different
gestures of articulation, two different manifestations
of the spirit, two types of publication, two different
public attitudes, two different ways of externalising
intimacies, of publishing the private, of exhibiting the
inhibited; two opposing attitudes in relation to the
ineffable. In sum: it effectively comes down to two
different types of art.
When man seeks to express a particular experience,
when he seeks to make audible the inaudible
and visible the invisible, he does so in function
of a particular object. Within human articulation,
experience and object are inseparable from each other.
Everything that man experiences is experienced for
a particular object: for marble, for a particular spoken
or written language, for musical sounds, for celluloid
film. And every object that man encounters on his
way towards death implicitly contains the categories
that allow the articulation of particular experiences:
a particular sentiment, thought, value, or desire. It is
not the case that man has experiences first and then
seeks an appropriate object through which to express
them. Hence, man experiences the world in function
of a particular object: as marble sculptor, as orator or
writer of Portuguese, as musician, or as film producer.
The objects, be they material or immaterial, be they
stones and bones, or numbers and letters, shape all
human experience.
Every object is perfidious: it resists the human attempt
to inform it, and every object is perfidious in its own
way. Stone breaks when hammered, bone cracks
when chiselled, numbers impose their own rules upon
thought expressed through them, and linear writing
transforms the sentiment expressed through it. To
inform objects is to struggle against the specific
perfidy of every object. This struggle slowly reveals
the resistance of objects: the structure of cotton that
sags, of glass that cracks, of concrete that dries out,
of the tonal scale that becomes tempered, or of the
language syntax that inflects. Therefore this discovery
of the structure implicit in every object is in itself also
an experience that men acquire. This is such a violent
experience, that not only does it provoke appropriate
2 More lasting than bronze or brass.
Vampyroteuthian Art
Project
knowledge and techniques for specific objects, but
also modifies man himself. It is therefore important to
store and transmit these acquired experiences, and to
do so via methods of expression proper to the object.
Thus, there emerges feedback between man and
object, through which man informs the object and has
experiences; experiences that will be used again to
inform other objects. Such feedback is the essence of
human art.
The objects resistance provokes man. As if it was
a voice that came from the object, calling to be
informed. This is the human vocation. There are
men whose vocation is to inform stones, and others
whose vocation is to inform letters. Whoever does
not discover the object of his vocation will live in
frustration. The vocation, this feedback between man
and object, is so passionately engaging that it leads
man to forget his original purpose, that of informing
objects so that the information can continue to be
available to other men. The object itself absorbs mans
interest. In the same way that stone transforms into
statue and writing into text, man is transformed into
sculptor and writer, and forgets that he is a man for
other men. Man, with all his feelings, thoughts, values,
and desires, realizes himself in stone and in letters.
All of his passions and actions become concentrated
onto the object. An example of this objectification of
existential interest is poetry. Language is apparently
a medium for intersubjective communication, and yet
the poet realizes himself during the struggle against
the deeply rooted rules and structures of language. No
longer does he speak through language, but against it.
He objectifies its intersubjectivity. The poets vocation
is to inform language.
Therefore, human art is not as the well-meaning
bourgeoisie would have us believe: the fabrication
of beautiful objects. Human art is the gesture
through which man imprints his experience onto the
object of his vocation in order to realize himself in
the object, to immortalize himself in it. Every object
thus informed is a work of art, be it a mathematical
equation, political institution, or symphony. Certainly:
the mathematical equation transmits above all
epistemological information, the political institution
ethical information, and the symphony aesthetic
information. However, the labeling of works as
scientific, political, and artistic, is misleading. This is
so because every human experience to be expressed
in objects implies all three informative parameters.
Every experience implies knowledge, value, and
sensation, and it does so simultaneously. To divide
informed objects, or culture, according to these three
labels is to ignore that man is a being that, by vocation,
expresses acquired experiences onto objects. One who,
#methods #postnature morph
Format Theme Action
by vocation, works. And that every human work is
art: an answer to a provocation emitted by a particular
object.
Objects do not provoke Vampyroteuthis. Objects do
not divert his existential interest: he aims always
towards the Other. His creative activity, through
which he stores acquired experiences, goes beyond
objects, and is directed towards the Other. The sepia
cloud does not impede his tentacles, as stone impedes
human fingers. His chromatophores are not curtailed
by the rules of skin colouration, as is human speech
by linguistic rules. Tentacles and chromatophores go
beyond the object. They do not make, they complete.
His creation is not made, but perfected. That
is why when he creates, Vampyroteuthis does not
experience the perfidy of the object but the perfidy of
the Other. When he articulates the ineffable, he does
not struggle against the perfidy of matter, but against
the perfidy of the messages receiver. He does not
want to violate objects by imposing new information
onto them; in order to be informed, it is the Other
that has to be violated. The Others memory is for
Vampyroteuthis the same as stone and language are
for us. Vampyroteuthis is sculptor and writer working
against the Other. He hammers and composes the
other. Vampyroteuthis vocation is the Other. It is
during the violation of the Other that Vampyroteuthis
realises himself. It is through this struggle against the
Other that Vampyroteuthis acquires new experiences.
This struggle fascinates Vampyroteuthis; it absorbs his
interest. This feedback between emitter and receiver,
this dialogue, is the essence of vampyroteuthian art.
Within this artistic creation we are able to distinguish
between several phases: (1) Vampyroteuthis goes
through a particular experience; (2) he searches
in his memory for a suitable model in order to
capture it; (3) he verifies the absence of such a
model: the experience is as yet unuttered; (4) this
arresting experience goes beyond his organism, is
organized by the brain, and is then transmitted to the
chromatophores; (5) the chromatophores transcode
the experience into a skin painting code; (6) such
skin coloration, never seen before, provokes the
curiosity of another Vampyroteuthis; (7) finally,
the emitter uses the new coloration to seduce the
receiver and copulate with it. The result of this
creative process is that henceforth there is a model
to capture the unuttered experience, and that this
model is thereafter stored in the memory of the
copulating mate. The acquired information was thus
incorporated into the vampyroteuthian dialogue
and will remain there forever. This is because
vampyroteuthian dialogue is eternal, as eternal as the
genetic information stored in the egg.
Vampyroteuthian Art
Project
A comparable creative process occurs when
Vampyroteuthis does not make use of the
chromatophores, but uses the sepia cloud to transmit
acquired information. It would be misleading to think
that a feedback between tentacles and sepia cloud
is established in such a process, like the feedback
between marble and human fingers. This is not
because the cloud is plastic and ephemeral, and
marble permanent and hard. Instead, this is because
the cloud is a vampyroteuthian secretion and marble
is an object that is strange to man. The cloud does not
fascinate Vampyroteuthis like marble fascinates man,
because the cloud is not strange to him. As he models
the cloud Vampyroteuthis is fascinated, just like man
as he models marble. However, Vampyroteuthis is
fascinated by the effect that the modelled cloud will
have upon another Vampyroteuthis. His fascination is
not objective but intersubjective.
Here is what happens during the modeling of the
cloud: Vampyroteuthis goes through a particular
experience, an adventure. His genetic information
programmes him to secrete sepia in such dangerous
situations. The same genetic information programmes
him to model the cloud in such a fashion that the
danger is directed against the cloud and not against
him. Vampyroteuthis is genetically programmed
to divert the enemys intention. However,
Vampyroteuthis reflects: as opposed to other, less
evolved octopi, he controls and re-programmes his
own genetic programme in function of deliberate
decisions. The experience that Vampyroteuthis has
just gone through must be expressed in the cloud,
no longer with the intention to divert a hypothetical
aggressor, but to store this experience in the memory
of another Vampyroteuthis. The cloud should not
astound a hypothetical aggressor but should astound
another Vampyroteuthis with the intention of forcing
him to store the experience. The cloud must pater
les bourgeois3 so that they remember what happened.
The purpose of modeling the cloud is to divert the
attention of the other Vampyroteuthis away from his
intention, and to direct it towards the new information.
So that other Vampyroteuthes are drawn towards the
cloud and devour it thinking that they are devouring
the emitter of the message. Thus, the new information
is incorporated into the vampyroteuthian dialogue
forever by the method of deliberate deception, artifice,
and lies: Art.
The vampyroteuthian creative process is the method
through which new models of sensation, knowledge,
and value, are articulated and then transmitted to
others, who are violated by seduction, or lies, in order
to store the models. Vampyroteuthian art is a series
of artifices, thanks to which, the vampyroteuthian
#methods #postnature morph
Format Theme Action
society is violated in order to accept particular
models, transmitted through the intermediation of
ephemeral and despicable objects. That is why there
is no pure art, pure science, or pure politics for
Vampyroteuthis. Vampyroteuthis is, in every sense,
a complete artist, that is, a being that seeks to attain
immortality through the epistemological, aesthetic,
and ethical modeling of the Other. He seeks his
immortality by means of violence exerted upon the
Other. To him, science and politics are nothing but
stratagems of art, nothing but traps. The aim is to
inform the Other, to alter him, to impose on him
particular information, knowledge, behaviour, and
sensations, which have been deliberated by the emitter
of the message. Vampyroteuthian art is total and
totalitarian, because the raw materials are not objects,
but rather, society. Vampyroteuthis is an artist that
hammers society in order to immortalise himself. The
motive for vampyroteuthian creativity, for his search
for immortality, is his spite for the Other. That is why,
to him, art and deceit are synonyms.
Certainly: the vampyroteuthian creative process
differs radically from the human one; it is a different
gesture, and has a different purpose. However, its
consideration provokes two opposing reactions.
On one hand, our own art shall reveal, in its anti-
vampyroteuthian aspects, a less than flattering
character. But on the other hand, we shall discover, in
our own art, a clear tendency towards approximating
vampyroteuthian art. We may summarise this reaction
with the following: inasmuch as human art diverges
from vampyroteuthian art, it is a confused and
undisciplined enterprise, and as human art acquires
self-awareness and discipline, it moves towards a
convergence with vampyroteuthian art.
Men, as opposed to Vampyroteuthes, have purity:
pure art, pure science, pure social technique etc.
However, from Vampyroteuthis point of view, human
purity reveals itself to be rubbish: the human artist is
only pure when his existential interest stagnates on the
path towards the Other, in the swamp of some dirty
object (stone, sound, linguistic syntax etc.); the human
scientist is only pure when his interest stagnates in
the swamp of some other dirty object (phenomenon,
equation, theory etc.); the social technician is
only pure when his existential interest manages to
transform the Other, towards whom he drives, into
an object (economy, sociology, politics etc.), which
is the dirtiest of all objects. Therefore, purity is a
consequence of distracted interest; a perversion of
interest. The human artistic gesture reveals itself as
3 To shock the bourgeois.
Vampyroteuthian Art
Project
an embarrassing gesture, as when a chicken pecks for
grain, when it doesnt know whether it should flee or
attack the enemy. Human art is pure because it has
forgotten its purpose, which is to transmit information
to others so that they may store such information.
However, men have started to become conscious of
their forgetfulness. They have started to become aware
that art history is a history of misunderstandings. They
have started to do communication theory; to make the
artistic gesture more conscious and disciplined. The
consequence of this is the communications revolution
that is now underway, which will restructure all human
activity. Deep down, this revolution is a diversion of
the human existential interest stagnated in objects back
towards the Other. Our communicational structures
are being fundamentally transformed, in the sense
of becoming constituted by ephemeral and transient
media that allow the Other to be informed without
the need for objects. It is as if humanity has finally,
after a multi-millennial wander through the objective
world, re-encountered the vampyroteuthian path. This
vampyroteuthisation of human art deserves a closer
look.
Before the industrial revolution every creative man
was a craftsman, be it a blacksmith, cobbler, painter,
or poet. The post-industrial distinction between
craftsman and artist was nonsensical: all of these
creators imprinted information onto objects, whether it
was iron, leather, canvas, or letters. The object stored
the information expressed within it; it was a work
of art, and the information stored was the value of
the work. In this way, the three concepts: information,
value, and artwork, were inseparable. Together,
they constituted culture. The industrial revolution
destroyed this concept of culture. It invented a
method of production that allowed information to
be imprinted onto tools that imprinted information
onto objects. No longer blacksmith or cobbler, but
now tools informed iron and leather, and the creative
man became the toolmaker. The tool stored the
information and it was, therefore, the tool that had
value the object simply transmitted the information
stored in the tool. The object was no longer a work
of art, and its value become lower and lower. Object
and value started to separate and the concept work
of art, and therefore of work, became diluted. The
most clarifying example of this rupture in the concept
of culture is provided by the printing press, a
precursor to the industrial revolution as a whole. The
information was stored in the printing press and not
in the printed book. The value was in the manuscript
and not in the book itself, which acquired a pitiful
value. The writer became a toolmaker. Society did
not realise, at the time, the impact of the industrial
#methods #postnature morph
Format Theme Action
revolution upon the creative process, because art, in
the restricted modern sense of the term, continued
to be crafted, untouched by the new methods of
production, since it was relegated to ghettos called
exhibitions and museums.
The second industrial revolution that is currently
beginning constitutes a new reformulation of
production methods: information is no longer stored in
tools but in cybernetic programmes within apparatus
that produce tools. Thus, it is the programmer (the
analyst and systems developer) and not the toolmaker
that informs. The apparatus will automatically
imprint information onto tools, which will in turn,
automatically imprint the information onto countless
objects. Hence, a tsunami of cheaper and cheaper
gadgets that are pitiful for being banal emerges;
ephemeral stereotypes, carriers of diluted information:
mass culture. This is the culture of plastic pens, of
pre-fabricated houses, and of stereotyped political
opinions. Programmed culture. A valueless culture,
because apparatus produce it automatically. Value and
information are thus stored in the artificial memory
of the apparatus. Therefore, this inflationary tide of
devalued objects leads to a disinterest in objects. Such
objects no longer fascinate. It is no longer interesting
to possess these objects. They become objects of
mere consumption. That is: they are used until the
information imprinted onto them is worn out, at which
point, they are thrown into the dustbin. Societys
interest is increasingly diverted from objects towards
information, which, however, remains inaccessible to
consumers. Such information is stored in the memory
of apparatus and transmitted, diluted, not only by the
gadgets, but also, and above all, by the ephemeral
channels of mass communication. In this way, the
society of the immediate future shall be a society of
information consumption, increasingly less interested
in the consumption of goods, of objects. Its interest
will be diverted from economy to sociology. An
intersubjective society: a society of Vampyroteuthes.
Man was, until recently, a being who worked. To work
is to imprint information onto objects, to transform
the objective world. From now on this will be the work
of apparatus. Men will no longer be workers and shall
become message programmers and receivers. The
production moral will disappear simultaneously with
the private property moral. A new moral shall emerge,
one of elaboration and consumption of messages.
Human existence will no longer realise itself in the
struggle against objects, but in the struggle for the
preservation and transmission of acquired information.
Men shall cease to be workers and will become
systems functionaries. Total artists functioning within
programmed totalitarianism: Vampyroteuthes.
Vampyroteuthian Art #methods #postnature morph
Project Format Theme Action

The most clarifying example of this new rupture in Apparatus functionalism may become integrated.
the concept of culture is provided by photography, The apparatus-like behaviour may overcome the
an invention that is the precursor of the second apparatus. Thus, there could emerge a totalitarianism
industrial revolution now underway. The individual of integrated apparatus, which are therefore
photograph is a pitiful object of almost no value, an invisible and imperceptible. Just like the gelatinous
ephemeral stereotype easily replaceable. The value mass of Vampyroteuthis. The contemplation of
is in the information imprinted onto the photograph, vampyroteuthian art prevents us, therefore, from
which is stored in the prototype, the negative. The glorifying the total work of art, artificiality, artifice,
photographic apparatus produces these prototypes and deception, so that we shall avoid every form of
automatically according to a specific programme Romanticism, because Vampyroteuthis illustrates the
contained within the apparatus. The photographer does essence of Romanticism: Hell.
not work, but rather functions within the apparatus
programme and re-programmes the apparatus. The
purpose of the photographer is not to produce
photographs, but to transmit information through
photographs. What fascinates the photographer is not
the photographic paper, the object, but the information
to be transmitted. The photographic paper is for the
photographer what the skin is for Vampyroteuthis: a
medium for colorful messages.

Will then the vision of vampyroteuthian art

necessarily be the vision of our own immediate
future? Will the human society of the future
necessarily be a society of hatred, lies, and the
violation of the Other through seduction and
deception? There are reasons to state that such a
future is probable but not inevitable. The difference
between vampyroteuthian art and the human art of the
future is this: although we may come to despise the
objective world as much as Vampyroteuthis despises
it, although this world may become to us a mere
collection of ephemeral communication channels
just as it is for him, we emerge, as opposed to him,
from a struggle against objects that has taken tens of
thousands of years. This struggle, and the experiences
acquired through it, are stored in our memory but
not in his. We have engaged in this struggle against
objects in cooperation with all other men, and have
been able to emerge victorious only due to this
cooperation. We still have stored in our memories the
fact that initially, in the Palaeolithic Age, all men were
constantly threatened by the objective world and were
therefore obliged to unite against this world. In such
a way, that for us humans, the Other is not merely an
adversary to be violated and informed, but also an ally
who creates information together with us. In fact, this
memory of the primordial alliance slowly falls into
oblivion under the impact of mass culture. However,
this memory is still present within us, and can help
prevent us from transforming ourselves into heirs and
transmitters of programmed information.

We are able to observe how, for Vampyroteuthis,

information programming can dismiss the need for
apparatus. The organism may function as an apparatus.
Jason Ferguson MeshBombing
Author Project
MeshBombing
That factor which consists
in a recurrence of the same
situations, things and events, will
perhaps not appeal to everyone
as a source of uncanny feeling.
From what I have observed, this
phenomenon does undoubtedly,
subject to certain conditions
and combined with certain
circumstances awaken an
uncanny feeling, which recalls
that sense of helplessness
sometimes experienced in
dreams. (Sigmund Freud, The
Uncanny 1919)
The ability to accurately replicate
and appropriate dimensional
objects, with or without permission,
is a unique addition to the current
2015
Year
state of Mashup Culture. The
potential to steal a dimensional
form and manipulate the object
however you choose, while leaving
the original completely unscathed,
is a relatively new process available
to anyone with a camera and
access to a computer. Gently
manipulated replicas of objects that
already exist in a space can have
a powerful psychological impact
on the mundane cycle of habitual
living. With this thought in mind
I have developed a process for
unsolicited public artworks called
MeshBombing.
MeshBombs are subtle
interventions in which objects are
borrowed from a public location,
#recipe #play #deface
Format Theme Action
Subtle public
interventions in which an
object is borrowed from
a location, replicated
digitally, altered, and
discretely returned to the
original site
digitally replicated and altered, then
quickly returned to their original site
within a new sculptural composition.
Subtlety is key for this type of
work to have an impact. Files that
have been manipulated drastically
will lose all connection to the
original object; however, with slight
alterations (e.g. change of color,
shift in scale, repetition, mirroring,
etc.) the public interventions have
the potential to awaken an
uncanny feeling, which recalls that
sense of helplessness sometimes
experienced in dreams that Freud
speaks of. This text exists as a
Call-to-Action and a push to create
MeshBombs throughout your city.
MeshBombing
Project
How-to MeshBomb:
1. Choose Site: Target
an establishment with
frequent repeat customers.
Subtle changes and the
slight movement of objects
are most effective when
your installation disrupts
a consumers normal
routine.
2. Select Object: Identify
an item that carries
social, political, or
purely aesthetic potential.
3. Digitally Capture
Object: Be sure to collect
enough images and/or scans
to render an accurate
digital replica in your
chosen 3D software. This
can be done in one of two
ways:
a. Photograph On-site:
Although this is the
legal and easier approach
to gathering data,
photographing the object
on-site makes it difficult
#recipe #play #deface
Format Theme Action
to stay anonymous. If you 5. Manipulate STL File:
choose to photograph the Bring the original
object in its original 3D model into a file
location do so quickly and manipulation program.
discretely. Photograph the There are many free open-
object from all sides and source and proprietary
angles to be sure that you programs available to help
have enough data to work you hack, slash, distort,
with later. and mix your object(s) to
aid in the creation of your
b. Borrow the Object: work of art.
Im not suggesting that
you commit petty theft, 6. 3D Print Your MeshBomb:
however, every person that Use additive manufacturing
knows what you are doing techniques to make your
adds risk. The instant three-dimensional graffiti.
that people are aware of Print your MeshBomb
your goal and can identify yourself or use one of the
who you are the project is many 3D printing services
dead. available to make your
creation tangible.
4. Generate STL File: Use
the photographs or 3D 7. Return Bomb to Original
scans that youve gathered Site: Take your MeshBomb,
to generate a 3D model and the original object if
using CAD software of its in your possession,
your choosing. This model to the location where you
should be a solid replica began. Wait for the right
of the original object with moment and discretely
accurate dimensions and setup your installation.
detail. Walk away.
Leo Selvaggio URME Recipes: Cooking with Privilege 2016 #recipe #figures #collapse
Author Project Year Format Theme Action

Toolkit for translating the

artists identity into a malleable
material, to be waved in
the face of overwhelming
technological power

URME Recipes:
Cooking with
Privilege

This leaflet will introduce you to your favorite new product, Leo-naise, from URME
Kitchen Incorporated. URME is dedicated to providing your kitchen with the latest in
identity technology. Leo-naise is a dynamically disruptive product that uses locally-
sourced artist Leo Selvaggio as a base. Creamy white and full of privilege, Leo-naise is
bound to change how you think about civically and socially engaged cooking! Below
are just a few delicious URME variations on your favorites. Enjoy!
URME Recipes: Cooking with Privilege #recipe #figures #collapse
Project Format Theme Action

Protest Pan-fried Pancakes

Want to attend a rally but remain

anonymous? Follow these simple
instructions to wear the face and identity
of Leo Selvaggio at protests and other
activism-based functions!

1. Print out and assemble the URME
Surveillance Paper Mask by either
visiting the URME Surveillance website.
Make one for yourself, outfit several
of your friends, or bring them to the
rally for others.

2. Research your location to find out

whether there are any anti-mask laws,
and determine for yourself the proper
course of action.

3. Attend the rally as Leo!

There are so many fun variations on the

Protest Pan-fried Pancake. Dont be afraid
URME Surveillance Paper Mask to make it your own! For example, try the
BlackLivesMatter Blueberry Pancake:

1. Gather all attending White people

and have them chain together to
form a single line of defense around
protesters of color and other
disenfranchised peoples. If there arent
enough White allies, then simply make
some using URME Surveillance Paper
Masks!

2. Tasty tips for White people using their

own privilege or for those borrowing
Leos:

a. By being a visual and physical

barrier against law enforcement, you
can protect People of Color behind
you from being taken, attacked, or
Blueberry Pancakes arrested simply for protesting.

b. Do not speak, hold signs, or try to

control the message. The best way
to support the protesters is to let
them control the dialogue.

c. Record any unlawful behavior or

action taken by law enforcement
against targeted protesters.
URME Recipes: Cooking with Privilege #recipe #figures #collapse
Project Format Theme Action

Sweet and Sour Surveillance

This recipe will enable you to subvert

large facial recognition surveillance
systems by wearing a photorealistic 3D
printed prosthetic of Leo Selvaggios
face in surveilled public spaces. Cameras
equipped with recognition software
will recognize Leo rather than you,
producing disinformation about who
Leo is and further invalidating data
stored in surveillance archives. You
can do this by yourself or coordinate
with groups of other people by joining
the URME Surveillance Facebook page.
To participate, follow these simple
instructions:

1. Purchase a URME Surveillance

URME Surveillance Identity Prosthetic
Identity Prosthetic directly from
the manufacturer, ThatsMyFace.com,
by emailing sales@thatsmyface.com
and using the promo code Leonardo.
Alternatively, if the prosthetic is
too costly, you can download a Urme
Surveillance Papercraft Mask by
visiting the URME Surveillance website.

2. Determine whether your area has any

anti-mask laws and understand them
before moving on to step 3.

3. Consider camouflaging the

prosthetic or papercraft mask by
adding simple-to-find, everyday elements
to your outfit, such as a collared
jacket, a hat, bangs, sunglasses, etc. to
taste.

4. Go to a public space that has security

cameras. Try not to interact or make
eye contact with other pedestrians,
as they may draw suspicion if your
prosthetic is detected. Walking
normally and ignoring other people
like every other pedestrian is the best
way to blend.

Individual Wearing Prosthetic 5. Look up at security cameras. Wave if

you like.
 URME Recipes: Cooking with Privilege #recipe #figures #collapse
Project Format Theme Action

Printed Pea Soup

This recipe will provide you with the URME

Polygon, a 3D model of Leos face, to use
in any number of applications. The model
is under creative commons and can be
used for characters in games, animations,
digital fabrications, etc. In one example,
faces in 3D models of historical figures
sculptures are replaced with the URME
Polygon model and then 3D printed. Print
it, manipulate it, or make art with it by
following these instructions:

1. Download the URME Polygon Model.

2. If you are an experienced digital

fabricator, consider using open source
software like Blendr to work with the
model.

3. If you are new to digital fabrication,

consider using an approachable online
platform like Tinkercad to start out.

4. Once you have worked with Leo

Selvaggios face, consider making a 3D
model of your own face using your cell
phone and photogrammetry software
like 123D Catch or Remake.

Baked Bio Bean

This recipe will provide you with a

biological sample of Leos DNA. Cultivate
cells, make clones, doctor DNA tests, etc.
The possibilities are endless!

1. Email Leo Selvaggio at Leo.Selvaggio@

gmail.com with the subject Cookbook:
Bio Sample, along with your mailing
address.

2. Allow 2 weeks for package to arrive.

3. Open package.

Submit your own recipe

Do you have an incredible idea for a recipe? URME Kitchen Incorporated encourages
you to submit your recipe to Leo.Selvaggio@gmail.com with the subject line Leo-naise
Recipe! You will get to collaborate side by side with master chef Leo Selvaggio, creator
of the Leo-naise product you know and love. Help us find even more exciting and
dynamic uses for Leo, and make Leo-naise a household name!
Anonymous Occupy Gramercy 2016 -2017 #recipe #resistance #break
Author Project Year Format Theme Action

3D modelling of a key to
Gramercy Park, for the
purpose of an occupy
action in 2017

Occupy
Gramercy

Gramercy Park, the only remaining private park in

Manhattan, is a monument to an outmoded aristocracy
guarded only by a wrought-iron fence neither of
which have a place any longer in our current moment
in history. Gramercy Park is not unique by virtue of
its excellence as a public park quite the opposite. It
is unique in that it is perhaps the most public display
of New York wealths indifference at the problems of
inequality in the urban fabric of the city today.

I propose to provide public access to Gramercy Park

on the first Saturday in May 2017, in place of the
former Gramercy Day, ten years after the Gramercy
trustees dissolved the one day a year the public was
admitted into the park. By making freely available a
printable, digital model of the key, the physical and
social barriers to park entry will be dissolved for the
day, if not permanently.
Occupy Gramercy #recipe #resistance #break
Project Format Theme Action

The project seeks to help observers and participants

alike question the role and legitimacy of private
ownership of limited green space within the city, as
well as the nature of the ornamental park itself a
vestige of 19th century urban design and landscape
architecture. The reflexive reason most often given
for maintaining the current hegemonic relationship is
that if the public were to be let in, the park would be
made less beautiful, somehow. I would like the public,
including residents of Gramercy Park, to consider the
possibility that the park could be made more beautiful
by welcoming the greater public of New York City.

#Additivism has the potential to subvert not only the

physical security that the locks to the park provide, but
more crucially the status keys convey to their owners.
The lock and key system provides security by means of
exclusivity it relies on the scarcity of a physical good.
The organization of matter forms the intangible the
notion of security itself; #Additivism enables the reversal
of this flow with data becoming corporeal, the
immaterial intruding into the physical world, providing
new opportunities for social organization.

Materials Required:

Camera
Photos of existing key to be duplicated guests of the Gramercy Park Hotel
have posted photos of the key to the park on the web
Photo of the type of key to be duplicated with dimensions for scale does not
need to be the desired key, but one from the same model
3D modeling software of your choice
3D printer

Procedure:

1. Take a photo of the lock. Try to ensure that the picture is taken parallel and as
close to the plane of the lock face as possible.
2. Upload the photo to Keysforge and generate a key blank.
3. Trace the outline of the desired key from the photo.
4. Scale the outline according to the image with dimensions.
5. Using the traced outline, cut the key blank.
6. Working from reference images of the desired key, make any necessary
adjustments & refinements to the key.
7. Export the 3D model and print your key.
Gabriel Menotti Spare Part: Religious Iconophilia 2016 #recipe #figures #collide
Author and 3D Replication Year Format Theme Action
Project
On the emulation of
religious relics

Spare Part:
Religious
Iconophilia
And 3D
Replication
Spare Part: Religious Iconophilia and 3D Replication #recipe #figures #collide
Project Format Theme Action

The Stanford Computer Graphics Laboratory has an

online 3D Scanning Repository, where it has published
some of the first models produced during its early
research of the technology, in the 1990s. There, it
is possible to find not only the original data of the
widespread Stanford Bunny, but also less known virtual
replicas of a Happy Buddha and of the Christian angel
Lucy, among others. The page sports a very peculiar
notice regarding inappropriate uses of these models,
which reads:

[P]lease remember that several of these artifacts

have religious or cultural significance. [] Keep
your renderings and other uses of these particular
models in good taste. Dont animate or morph
them, dont apply Boolean operators to them, and
dont simulate nasty things happening to them (like
breaking, exploding, melting, etc.).1
The warning is clearly addressed to the agnostic other:
to the scientist for whom those scans and polygonal
meshes do not have any special meaning if not as
pioneering assets in the history of computerized
representation. A believer would not have to be
reminded that an expression of the sacred, as abstract
as it may be, bears a trace of the sacred itself. In the
Christian tradition that permeates western thought,
creation is imbued with image and likeness. While
the worldly aura of the artifact deteriorates with each
and every copy, the divine reality with which it has
been invested seems to subsist. Thus, making and
preserving these objects or, in some cases, to
destroy them become exercises of reverence.
A number of religious practices deploy mechanical
reproduction for devotional purposes, such as the
fabrication of holy figurines, prayer cards, and wax
ex-votos. The mimetic aptitude of 3D replication
technologies seems to make them particularly fit for
these and even more complex iconophilia. In 2014, an
international group of forensic experts, coordinated
by the Anthropological Museum of Pdua, used a
scan of the skull of St. Anthony to perform a digital
reconstruction of his face.2 The resulting model was 3D
printed in color, resulting in the most faithful bust of the
saint to date, later donated to the basilica that holds his
mortal remains.
The emulation of relics thus shares with experimental
archaeology an eagerness to recover long-lost
presences by the means of simulacra, up to a point
where they become the same. What does it mean
when holographic projection is used to recreate the
giant image of the Bamiyan Buddhas in their original
site?3 Is it really a manifestation of our secular,
civilizing concerns for cultural heritage, set against
the Talibans iconoclasm? Perhaps what lies under
the global preservationist agenda is just a dispute of
dogmas, between different ways of accounting for the
metaphysical.
1 graphics.stanford.edu/data/3Dscanrep
2 www.messengersaintanthony.com/messaggero/pagina_articolo.
asp?IDX=699IDRX=185
3 www.youtube.com/watch?v=JI4ozg4iEEw
Kyle McDonald Liberator Variations 2013 #methods #kipple #detach
Author Project Year Format Theme Action

A collection of absurd
variations on the 3D
printed gun

LIBERATOR
VARIATIONS

On May 6, 2013 a small pro-weapons organization called

Defense Distributed shared a useless plastic gun called
The Liberator, available for anyone to download and
potentially harm themselves with. Assuming they have
access to both ammunition and a very expensive 3D printer.
Liberator Variations #methods #kipple #detach
Project Format Theme Action

A few days and 100k+ downloads later, the US

Department of State got scared enough to order Defense
Distributed to take down the file. Enthusiasts promptly
moved the file to a torrent, tracked by The Pirate Bay,
making it harder to regulate and creating significantly
more publicity. Pirate Bay users could only maintain
interest for approximately four pages of comments.

Perhaps the file on The Pirate Bay wasnt the original?

Perhaps someone made minor modifications to make it
even more unusable than it already was? I had to wonder,
and invited others to wonder with me.

The governments reaction, and most peoples reaction to

the Liberator, seemed primarily driven by fear. The fear of
an undetectably lethal society, where forbidden objects
can no longer be regulated. Where society itself breaks
down, because access to 3D printers somehow tear up
the social contract that keeps us at a distance from the
objects that we can use to harm each other.

I believe that networked media, in its current form, cannot

be regulated to such a fine degree as to deny access to
specific files; and certainly not specific kinds of files. None
of the regulations on physical goods can practically be
applied to digital goods. The historical foundations of file
sharing (music, movies, applications) have demonstrated
this, but forbidden physical items exacerbate the
discrepancy. Soon, machines that print arbitrary
chemical compounds or organisms with arbitrary genetic
information will similarly challenge drug and biochemical
warfare regulations. When something is impossible to
regulate, it makes more sense to focus on education and
discussion than censorship.

In response to The Liberator, I borrowed an idea from

One coffee cup a day by producing several absurd
variations on the original file. Ideally, they should make
people feel like theres nothing sacred or singular about
that 3D printed gun file but that its something that can be
remixed, appropriated, redirected, repurposed. That its
not just floating around out there, or in the hands of a few
people, that its not something to be feared, but treated
critically, carefully, humorously, seriously.

What is there to be afraid of when were all in this

together? When we all feel empowered, in control, able to
participate in and guide culture? There is only fear when
we feel disempowered, when we lack understanding,
when we are censored, when we lack input or control and
are instead being controlled.

Within F.A.T. there is significant disagreement about the

right way we can engage with unregulated 3D printed
weapons. Personally, I want to live in a society where no
one owns or has an incentive to own a weapon, but there
is also no stigma or fear about discussing them.
Matthew Hollings print_music
Author Project
print_music
Algorithmic art descends from early
20th century avant-gardes as an
offshoot child of constructivism and
futurism. #Additivism completes
the territorialization of sculpture
by digital technologies. Computed
image construction was first
explored in the 60s by the Algorists
and now printing technologies open
up 3D form to the same analytics.
Form can be constructed in ways of
which Boccioni only ever dreamed.
The potential of 3D printing for
a transformation of society and
material production seems clear.
Accelerated by the Internet
2016 #methods #sense #morph
Year Format Theme Action
An openFrameworks app
which renders a 3D printable
solid form from a .wav file
simulated and virtual space into another form; velocity and time
becomes realizable, the simulation are compressed into space. Energy
feeds directly back into the real is slowed to a visible viscosity.
from which it came.
The failure of Muybridge to capture
print_music is an attempt to movement leads to the discovery of
explore this path, to render the form of movement in space.
sound materially, to reify audible
sensations. 3D mesh files that
are generated directly from a
digitization of a vinyl record,
converted from analogue via digital
back to analogue, best express
the idea behind print_music.
Computation processes transform
the analogue data stream, the
vibrational sampling of a surface,
print_music #methods #sense #morph
Project Format Theme Action
XXX
Patrick Whitmarsh
XXX The Perspective of Print 2016
XXX #XXX #kipple #XXX
#XXX #methods #morph
Author
Author Project Project YearYear Format Format Theme Theme Action
Action

TitlePerspective
The
of Print
Short description
The perspective
of the printer
is there, lurking
within its pages,
waiting for its
readership
to realize its
subversive
potential.
The Perspective of Print
Project
How can we read printing, the narrative of print,
from the perspective of the printer? While it may
be impossible to accurately imagine the ontology
of modern technology, science fiction offers no
shortage of attempts to do so. By proposing that we
imagine such a perspective, SF and certain strands
of speculative theory force us to acknowledge the
contingency of human values such as authenticity and
self-ownership. We might say that they provide us with
recipes for reimagining our relationship to technology,
and how this relationship reconfigures our material
being. But these recipes need not yield homogeneous
results; in fact, they encourage us to experiment, to
explore new combinations of human and machine, new
hybrid models. These models can often be difficult to
detect or identify, thereby necessitating our attention
toward the subtle and the subterranean the layers of
meaning and matter that subtend the surface patterns,
like the fossil fuels that circulate beneath our feet. To
locate the perspective of the print, we must excavate
the text.
At the end of his 1956 short story, Pay for the
Printer, science fiction author Philip K. Dick offers
his readers a moment of humanistic hope in the midst
of nuclear devastation. The narrative depicts a world
in the aftermath of nuclear war, in which humanity
has come to rely on the replicative properties of an
alien species known as the Biltong, which have the
biological capacity to create functional prints of
any object in their environment even alcoholic
beverages, including whiskey. However, by the
conclusion of Dicks story, the Biltong have grown
weak in the gravitational climate of earth, and humans
are beginning to search for other ways to survive. In a
closing conversation, one character shares knowledge
of survival skills with another:
And youre printing tools? Like that knife?
Dawes laughed long and loud. The word isnt print
the word is build. Were building tools, making
things. He pulled out the crude wooden cup and laid
it down on the ash. Printing means merely copying. I
cant explain to you what building is; youll have to try
it yourself and find out. Building and printing are two
totally different things.1
The distinction between printing and building
bespeaks a conceptual binary that directs Dicks
writing in an ideological manner: labor versus work,
respectively. Labor corresponds to a hierarchy of
organization typically capitalist organization,
portrayed in Dicks imagined scenario as a residual
institution reinforced by a society reeling from post-
capitalist collapse. Work, in contrast, corresponds
#methods #kipple #morph
Format Theme Action
to a perceived immediacy with the natural world a
reworking of nature to create a system of objects, or
world of things in Hannah Arendts distinction.2
Dicks short tale clearly elevates work as the more
desirable of the two productive forms, evinced most
clearly in Dawess final line, uttered seemingly to
himself as he admires a rare object in his collection,
a Ronson cigarette lighter. As Dawes ponders the
unlikelihood of being able to craft such complex
objects in his lifetime, he casts a hopeful forecast for
the future: Not in our time, he said, and closed the
box. Too many steps in between. His lean face glowed
suddenly, a flicker of joyful anticipation. But by God,
were moving that way (252). Dawes sympathizes
with the forced bio-labor of the Biltong, and looks
forward to a time when humans rediscover the means of
handcrafting their own tools. This attitude incorporates
various ideological elements: natural versus artificial,
original versus simulacrum, self-reliance versus
dependency. Dawess vision of a return to primitive
modes of human productivity accomplishes two
primary goals: it reestablishes an epistemological model
of the human subject as the possessor of his labor (and
this subject is largely gendered as male in Dicks story),
and it emancipates the Biltong from their submissive
position as exploited labor.
Presented in this manner, completed by the
exploitation and suggested murder of Biltong by
humans, a return to a kind of tool-being appears
ethically desirable.3 However, this approach also
renders Dicks story as resolutely humanist in a
particularly reactionary fashion; unable to acclimate
themselves to the earths gravity, the Biltong become
an extraterrestrial force that merely reveal to humans
how they have lost their humanity, so to speak (this
frequently manifests in Dicks stories through the
loss of language humans forget words such as
rain or build). The only way forward is backward.
How might we perceive, in a speculative fashion, a
form of nonhuman agency at work in the premise of
Dicks story? The author portrays the Biltong as an
alien race that thrives on imitation, on replication;
the Biltong must continually produce copies of their
found environment. Yet despite Dicks resistance
to the concept of the copy, or the simulacrum, he
also portrays the Biltong in a highly sympathetic
manner, eliciting horror from his readers as Dawes
1 Philip K. Dick, Pay for the Printer, The Philip K. Dick Reader, New
York: Citadel Press, 1987, p. 252 (all further references cited in-text).
2 See Arendt, The Human Condition, Second Edition, Chicago: U of
3
Chicago P, 1998, p. 7.
See Graham Harman, Tool-Being: Heidegger and the Metaphysics of
Objects, Peru, IL: Open Court Publishing, 2002.
The Perspective of Print
Project
witnesses a struggling Biltong try to defend itself
against an enraged crowd near the storys conclusion.
The Biltong, despite their imitative behavior, are
biologically hardwired to be imitative they are, we
might say, authentic in their imitation.
Human manipulation of the Biltong does not
correspond to any biological necessity, but rather
to the demands of late capitalist consumerism. The
Biltong find welcome on earth because of their
capacity to reproduce, or print, objects, but are
derided and even attacked when they fail to print
copies that last. In the story, the increasing inutility
of objects happens to correspond with the gradual
withering of the Biltong under terrestrial conditions,
but it also illuminates a misinterpretation from
humans: that the Biltong are no longer functioning
properly when they cease to produce objects that
function properly. The primary motive of the Biltong
is to reproduce objects, to reproduce their environment
in this sense, their use for objects does not
correspond with human use. The plot dilemma of Pay
for the Printer derives from a scenario of scarcity,
but it also reflects a specific human anxiety toward
the material world: that base matter (excess matter,
the waste of the world) pursues paths that may not
conform to human needs.4
The anxiety of base matter is magnified and
exacerbated to a radical degree in Reza Negarestanis
2008 work, Cyclonopedia: Complicity with
Anonymous Materials. Recent years have seen an
increasing interest in Negarestanis fascinating and
perplexing text (referred to hereon as Cyclonopedia);
most significantly, it enjoyed the attention of a 2012
symposium, the findings of which were subsequently
published in the collection Leper Creativity:
Cyclonopedia Symposium. Participating in the
symposium, literary critic Kate Marshall addressed
Cyclonopedia as a novel, and how it troubles our
conventional notions of narrative and point-of-view:
Petroleum, the sentient entity narrates, but from a
nethermost point of view. And this too is unstable,
because petroleum is the point of view itself.5 How
can oil narrate? Marshall settles on no single theory
of narratology, but concludes that Cyclonopedia is
doing something new; it is a textual assemblage that
refuses to abide by conventional narrative laws.6 It
locates point-of-view in a liminal, nonhuman space, a
nethermost region.
Dicks Pay for the Printer adopts a resolutely human
perspective, and thereby concludes on a resolutely
humanist note; but another perspective resides within
the text, a perspective that may reveal itself as an
effect of hidden writing, as Negarestani discusses
#methods #kipple #morph
Format Theme Action
it in Cyclonopedia. For Negarestani, hidden writing
designates a subsurface life that can only be
exhumed by distorting the structure of the book or
the surface plot.7 Negarestani weds concept and
image in his primary figure for hidden writing: the
( )hole complex, or the industrial process of drilling
for oil. This economic and political process reflects
the complementary plot holes of hidden writing:
psychosomatic indications of at least one more plot
densely populating itself in the holes it burrows
through and digs out (61). I want to emphasize one
such plot hole in Dicks story, which manifests also
in a literal holey-ness: the frustrating decomposition,
early in the story, of a printed gasoline pump. As a
poignant image of breakdown, the pump also invokes
the raw materials utilized for printing oil, petrol. The
reprinted gasoline itself spills out from the eroding
pump, confounding the cycle of appropriation, the
exploitation of dead matter. It is at this moment that
the pump morphs from an object to what Bill Brown
identifies as a thing: We confront the thingness
of objects when they stop working for us, Brown
writes; The story of objects asserting themselves as
things, then, is the story of a changed relation to the
human subject and thus the story of how the thing
really names less an object than a particular subject-
object relation.8 In this sense, the pump attests to its
own thingness by dematerializing its usefulness it
communicates its own agency, its radical materiality,
by dematerializing.
Of course, the pump does not fantastically
dematerialize, but rather redistributes its material
composition; to paraphrase N. Katherine Hayles, the
pump loses the body of its information.9 The Biltong
rely on information in order to make prints; they
need objects in order to replicate them. Information,
however, is virtual; as Bruce Clarke explains,
information does not exist until an observing system
(such as a mind) constructs it.10 It is incumbent
4 Base materialism is a concept attributable to Georges Bataille. For
more on this intriguing theory, see Benjamin Noys, Georges Batailles
5
Base Materialism, Cultural Values 2.4 (1998): p. 499-517.
Cyclonopedia as Novel (a meditation on complicity as inauthenticity),
Leper Creativity: Cyclonopedia Symposium, eds. Ed Keller, Nicola
Masciandaro, and Eugene Thacker, Brooklyn: punctum books, 2012, p.
155 (all further references cited in-text).
6 Laws operates here as a rhetorical term. The accumulation of work in
the field of narratology cannot amount to a constitution of prescriptive
laws, but only an observational descriptive account of various modes
of writing. Literary critics are continually fascinated by texts that
manage to overcome these laws in exciting and challenging ways. We
are drawn, I mean to say, to the lawbreakers.
7 Reza Negarestani, Cyclonopedia: Complicity with Anonymous
Materials, Melbourne: re.press, 2008, p. 62 (all further references cited
in-text).
8 Bill Brown, Thing Theory, Critical Inquiry 28.1 (2001): p. 4.
9 See N. Katherine Hayles, How We Became Posthuman: Virtual Bodies
in Cybernetics, Literature, and Informatics, Chicago: U of Chicago P,
1999, p. 50 (all further references cited in-text).
The Perspective of Print
Project
upon us, as critical readers of Dicks short story, to
acknowledge observing systems other than human
beings. The Biltong, in other words, perceive matter
in an informationally different way than humans;
and the decomposition of objects, the loss of their
human utility, does not register for the Biltong as
a setback, but as a redistribution of raw materials.
The relationship of the Biltong to unadulterated,
disorganized, dirty matter appears to be one of
intense immediacy: they discover their own being in
the excess of detritus.11
The discrepancy between the human and Biltong
perspectives derives from an augmentation of scale.
What humans cannot help but view in an egocentric
manner, the Biltong perceive in relation to a set of
larger circumstances and conditions; and what human
beings view linearly, as surplus and scarcity, the
Biltong perceive as systemic symbiosis. The hapless
Biltong, whose death the text implies just prior to
the conclusion, cannot understand why its prints
are useless. This argument yields consequences not
merely for the thematic concerns of the text, but also
for the possibility of any conventional reading of
the text; the Biltongs behavior of reorganizing raw
materials for various productive reasons, which may
not necessarily be human reasons, serves as an analog
for the kind of reading I am arguing for. To read a
privileging of the print in Dicks story, we have to
reorganize its raw materials; and this reading offers
a perspective for not only the alien Biltong of Dicks
story, but also for the very perspective of media itself
for the technology of the printer.
Reorganizing the raw materials of Dicks story is
analogous, I want to suggest, to uncovering its plot
holes, the Negarestanian hidden writing of the
text. However, try as we might, we cannot achieve
the perspective I am arguing for purely by altering
the text; we must also alter our own observational
apparatus, to embrace what Hayles has called
machine reading.12 In her extensive discussion of the
Digital Humanities, Hayles suggests that machines
might provide models of textual consumption that are
equally as valuable as the humanist model of reading.
Noting that human beings are notoriously egocentric,
she advances the possibility that if events occur at
a magnitude far exceeding individual actors and far
surpassing the ability of humans to absorb the relevant
information, however, machine reading might be a
first pass toward making visible patterns that human
reading could then interpret (29). Certain information
can only be accessed by computing technologies,
and can only be efficiently organized at the level of
complex systems before any attempt can be made at
interpretation.
#methods #kipple #morph
Format Theme Action
Mapping Hayless commentary onto our discussion
of Dick, we might say that a reading that privileges
the print can only be performed by print technology;
but such a statement seems obvious and virtually
tautological. We must remember that Dicks story
was written by a human and published for human
consumption. The critical value of this text lies in its
ability to imagine an alternative reading within the
conditions depicted in its content. Formally, Dicks
story is conventionally realist; but it is a realism that
gestures toward its own fragility and, perhaps, futility.
The perspective of the printer is there, lurking within
its pages, waiting for its readership to realize its
subversive potential.
Privileging the print in this manner also repositions
the human in an epiphenomenal manner the
human emerges as a side effect of crude material
processes, but perceives itself retrospectively as the
producer and organizer of those processes. Humanity
claims ownership, authenticity, and identity over the
frustrating fluidity of matter. Dicks story, despite its
conclusion of optimistic humanism, subtly reminds
its readers of the carelessness of matter. Negarestanis
text takes this issue even further, positing global
patterns of material production and consumption
in which humans are only tangential agents (and
agential tangents). For the machine-actors of these
texts (Biltong, oil, the Middle East, matter itself), the
material systems of the universe comprise patterns
that no human narrative can capture narratives that
persistently collapse into solipsism and egocentrism,
that desperately seek the linearity of progress.
The perspective of the print, in contrast, knows no
progress. It can only exist at the edges of thought, in
the shadows where humanity has located the horror
of its existence. It looks back at us, thoughtfully yet
dismissively, from a nethermost point of view.
10 See Bruce Clarke, Information, Critical Terms for Media Studies,
W.J.T. Mitchell and Mark B.N. Hansen, eds., Chicago: U of Chicago P,
2010, p. 157 (all further references cited in-text).
11 For more on dirty matter, see Jussi Parikkas New Materialism as
Media Theory: Medianatures and Dirty Matter, Communication and
Critical/Cultural Studies 9.1 (2012): p. 95-100.
12 See N. Katherine Hayles, How We Think: Digital Media and
Contemporary Technogenesis, Chicago: U of Chicago P, 2012, p. 29 (all
further references cited in-text).
Patrick Romeo DIY NanoSatellites 2016 #fabulation #outside #collide
Author Project Year Format Theme Action

Parasitic nanosatellites designed

to swarm and cannibalise their
interplanetary cousins

DIY
NANOSATELLITES
DIY NanoSatellites #fabulation #outside #collide
Project Format Theme Action

Inexpensive targeted-bandwidth signal

jammers could prove useful for counter-
surveillance and obfuscation.

An example of a declassified NSA

spy satellite that could be swarmed or
disassembled remotely.

The NASA PGT (Pistol Grip Tool) is

an example of an appendage that
nanosats would need to cannibalize
parts from other satellites.

The DIY Nanosatellite project
began with a more terrestrial slant:
examining the world of propeller-
based drones, and designing ways
in which they could be modified
or repurposed for creative or
potentially nefarious goals. Its not
difficult to imagine a simple Arduino-
based solenoid actuator system to
hold a spray paint can and wreak
havoc on a citys surveillance
camera infrastructure, or to strap
a payload of any sort (imaging,
incendiary, biotech) to any off-the-
shelf flying machine. The vectors
are endless and often intimidating.
That being said, the myriad
possibilities inherent in artificial
geosynchronous or low-earth orbit
(LEO) satellites are more intriguing
for the purposes of this document.
The first functional hand tool was
recently digitally printed aboard the
International Space Station. The
environmental parameters in space
are admittedly extreme, especially
on highly exposed modular
platforms such as the CubeSat.
Research is being done to further
the ability to print materials in
microgravity and in a vacuum (and
with extremes of UV degradation for
current plastic print media).
This conceptual foray will serve to
demonstrate several ideas related
to swarm intelligence via multiple
nanosatellites working in tandem,
counter-surveillance via various
forms of sabotage and watchdog-
style accountability, and cannibalistic
or parasitic functions via collection of
space junk and milling and recycling
it into new functional parts using
direct-metal laser sintering (DMLS).
Given that the cost prohibition of
most space research is dependent
on launch costs, mining existing
raw material already at LEO provides
an enormous fiscal benefit.
The basic research materials
and kits necessary for these
plans are widely available.
Temperature regulation, sensors,
imaging, launching, shielding,
solar power, battery storage, and
communications are already well-
established technologies for satellite
exploration. There are certain
persistent technical hurdles that still
exist for cheap and robust small-
scale satellites:
DIY NanoSatellites #fabulation #outside #collide
Project Format Theme Action

Aluminized Mylar provides both

visual and coms disruption. Could be
deployed around an existing satellite
much like a trash bag.

DMLS (Direct-Metal Laser Sintering)

on a multi-axis arm could print using
reclaimed metals found in space.

Tow lines added to nanosats could This is the chassis of the CubeSat.
piggyback on existing satellites to cut
down propulsion cost. (These could
also be 3D printed.)

1. Micropropulsion piggyback propulsion advantage trash we could turn space-junk

Propulsion has been a limiting
factor for satellites for many
years. Compressed-fluid systems
are notoriously unreliable in the
extreme environments associated
with space, require large and
heavy payloads, and have a limited
lifespan. Using MEMS (micro-
electromechanical systems) to
create small amounts of thrust in
a very low-form factor can solve
this issue and can last for an
appreciable amount of time (months
to years depending on duty cycles).
2. Target Acquisition
If looking for a specific satellite
or object, targeting, tracking, and
adhering to the target provides a
(magnets, adhesives, or printed tow
lines would function well depending
on the target material specs).
3. Tasking
Nanosatellites tend to lend
themselves to singular tasks. How
do we create a do-it-all everything
bagel satellite? Perhaps use a
cluster of small satellites that come
together to do more complex tasks
in a swarm, or can temporarily
assemble into functional shapes.
Further research into this field could
yield a bright future of an open-
source space where anyone can
put nearly anything into orbit (or
instead of producing more space
collection into a game and then
use the found parts for a more
macroscopic project). Its fun to
talk about a swarm of picosatellites
disabling a spy satellite, but
perhaps the more radical approach
would involve crowdsourcing
an effort for space-based
renewable energy generation,
or massive reflective objects to
slow or even reverse the effects
of anthropogenic global climate
change. By vastly reducing the cost
and difficulty to enter into such a
normally cost- and experience-
prohibitive field, we can open up
a much higher percentage of the
worlds thinkers to a shot at space
research and/or travel.
Amy Ireland Bouequet, Stealth Poetry Module 02 2016 #device #sense #remesh
Author Project Year Format Theme Action

Synaesthetic poems created

via transcoding

Bouequet,
Stealth Poetry
Module 02
Bouequet, Stealth Poetry Module 02
Project
_Bouequet_ is an experimental work-in-progress
comprising a series of short synaesthetic poems
created via trans-coding. The final form taken by each
text is a spherical 3D printable object with roughly the
same dimensions as a rose. The poems material form
functions as camouflage under which the work can be
smuggled into domestic and corporate spaces simply
by exploiting the desirable vacuity of a decorative objet
dart. The composition of each poem (in its original
text form) is guided by a meditation on processes
of encryption and abstraction, usually written in
response to an existing philosophical text concerning
the relationship between language and flowers
floriography being a traditional, transcultural model for
divine communication (Stphane Mallarms Crise de
vers and Georges Batailles The language of Flowers,
for example, count among previous stimuli). The cipher
for the 3D phonetic alphabet can be found for Desktop
and Mobile.
Process
Each module is produced through a process of
encryption devised to guide language back to matter
and designed to cycle around a central homophonic
ambiguity particular to each one. The original text is
first transposed phonetically, effectively transforming
it into a sonic event and consolidating the works
tendency towards homophonic equivocation. This
activates the latent potential of the trans-word
homophony integral to each composition, making it
possible to read the poem as a single sound, or a
concatenation of sounds, and enabling new words
to be formed by, for example, connecting the final
phoneme(s) of one word to the opening phoneme(s)
of the following word. Along with rendering the
homophones entirely ambiguous, this is what allows for
multitudinous readings of the initial text. Each phoneme
has then been paired with a three-dimensional
shape designed to express its sonic and connotative
properties and is then modelled in three dimensions
using CAD software. The shapes are strung together in
an order that correlates with the phonic representation
of each text in an infinite line along the surface of a
sphere. The poem is then tightened up, collapsing
the materially rendered phonemes inwards so that
the assemblage is almost solid and the resulting
object is printed in three dimensions, informed by the
scale of a flower. The resulting object can be read
in multiple ways haptically, visually, sonically, etc.
It is possible to decipher the original text (or one of
its parsings) heuristically, moving through different
phonic combinations until you have exhumed a word or
string of words. However, it is impossible to determine
which version is the authentic version, for the origin
has been excised. of course, it is equally desirable to
ignore the poetic line altogether and read across the
object, or chose discrete phonemes stochastically. The
permutational possibilities are quite large, and even
greater if the reader is willing to discard any fidelity
#device #sense #remesh
Format Theme Action
to sense. readers are encouraged to explore the full
spectrum of possibilities afforded by the poems for
heterodox forms of reading and transmission. Their
fist-sized dimensionality makes them amenable to use
as carriers of cryptic messages in some form of future
warfare, perhaps printed in a dense metal and hurled
through windows, fired at drones, etc.
As an ongoing work, _Bouequet_ speculates on ways in
which poetry might be transmitted after the death of the
book. Additive manufacturing processes, like the
technology that made the newspaper possible, allow for
mass distribution, yet, unlike the newspaper, they are
not centralized and (for the moment) retain their open-
source ethos. These poems are all freely available and
anyone can download them, modify them, and reprint
them for themselves.
Concept
language is a method of encryption that translates
its outside, however one chooses to construe it, into
a coded, symbolic inside. Both divine and logical
languages, designating as their grail a faultless
correlation between these two realms, necessarily
underwrite their code systems with either divine
guarantee or rational precision. It could be said that
poetry capitalizes on the failure of these systems,
while simultaneously mourning their loss. This is
the resurgent dilemma of twentieth century poetics.
The twenty-first century retains the basic form of this
dilemma yet its anxieties are intensified, for its poets
are squarely faced with the problem of what language
may become in the wake of the death of _both_ God
and the human subject as we conceive of it today. If
language is code, might it not run wild once the last
tethers of human exigency are cut? language as mad,
self-propagating, non-linear putrescence... a growth that
crowds out every last hope of logical correlation,
dissolving the clarity of things in a ubiquitous mesh,
infinitely egged on by its own feedback.
_Bouequet_ proffers a language of Flowers for the
linguistic apocalypse in which missive becomes
missile: if it cant be read, then it might at least be
hurled! Who or what by, remains to be seen.
XXX
Heather Davis XXX
The Domestication of Plastic 2016
XXX #XXX#kipple #XXX
#XXX #methods #remesh
Author
Author Project
Project YearYear Format Format Theme Theme Action
Action

TitleDomestication
The
of Plastic
Short description
3D printing
represents
the duality of
individual desire
and infinite
reproducibility. It
is oil made digital,
made personal.
The Domestication of Plastic
Project
The recent extension into consumer markets of 3D
printing frees plastic production from the confines of
industrial manufacture. Despite the fact that plastic
was and continues to be produced by relatively small
scale plants, often with about one hundred employees,
these spaces were necessarily industrial. Plastic
objects were used within but could not be produced
from domestic and craft spheres. This led to what
Mike Michael called plastics abject relationality. uses the imperfect, glitchy, nascent technologies of
He writes, plastic is perhaps the example par
excellence of what, from the perspective of the
domestic and of craft, is an abject relationality the
impoverished possibilities of re-inventing and re-
informing plastic. In sum, plastic is a material with
a composition (where composition, read through a Arts American Indian collection. The composition of
Whiteheadian lens, implies a nexus of technologies,
systems, skills, environments and so on) and precludes
manipulation outside of an industrial setting (2014,
32). Plastic objects, Michael argues, imply an
entire production chain, from oil and natural gas
extraction to chemical plants to extrusion and molding
processing to container ships and distribution centers,
finally arriving on shelves in stores.
3D printing, by short-circuiting this composition
and in the creation of new compositions that are
implicated with hacker and art cultures, extends and
amplifies plastics contradictions.1 At once a material
of utopia and anxiety, of abundance and waste, of
democratic access and ecological horror, plastic can
be understood as the material distillation of advanced
capitalism. It gives rise to the pleasures and desires
of an increasingly large section of the population,
resulting in the most fabulous and imaginative sex
toys, prosthetics, a wide array of guns, artist projects,
replicas of lost cultural monuments and statues, and
all of the banal and endlessly reproducible objects that
increasingly populate our everyday lives and can be
found discarded and broken in every location on earth.
3D printing represents the duality of individual desire
and infinite reproducibility. It is oil made digital,
made personal.
What is particularly fascinating about this moment
in time for 3D printing is the fact that the quality, at
least for most consumer 3D printers, isnt very good.
It breaks and cracks, the programs are full of glitches
and holes and the objects end up with too much and
not enough plastic. Detail is lost. The hand of the
machine is visible in the work, along with seams
used to bind pieces together. Similar to the poor
quality image, 3D printing mocks the promises of
digital technologyOnly digital technology could
produce such a dilapidated image in the first place
(Steyerl 2009, 1). And like poor images, 3D printing
feeds into both capitalist media assembly lines and
#methods #kipple #remesh
Format Theme Action
alternative audiovisual economies (Steyerl 2009, 8).
The technologies become vectors for liberation from
industrial processes just as we are ever more locked
into and increasingly accept the intimacies of oil,
solidified through plastic.
Duane Linklaters recent work for the salt 11
exhibition at the Utah Museum of Fine Arts (UMFA)
domestic 3D printing to exploit the ways in which
the objects produced erase details, blur edges, and
create rather unappealing beige blobs. The project
involved 3D printing objects, that didnt have an
attributed author, from the Utah Museum of Fine
the works was done through digital files, transmitted
over 2,000 miles and printed using consumer quality
printers. What results are degraded, washed out, and
blurry renderings of objects that were once practical,
ornamental, ritualistic, spiritual, or artistic. The
artworks comment provocatively on the violence
of the de-contextualization of colonial acquisition
of Indigenous objects. The blurred and washed out
sculptures that resulted, replete with mistakes such
as bumps and divets and the purposeful preservation
of the seams that show how the works were pieced
together, is a comment on the blatant disregard for
the specificity of Indigenous art and Indigenous
objects. In fact, during the course of the research, it
was discovered that one of the objects that had had
no noted authorship, did in fact have the artists
name etched into it (Tassie 2015, 9). Due to this
observation, the artists name was finally entered
into the official records of the museum. The blatant
erasure or denial of authorship (a value that is held
by Western museums generally) mirrors the lack of
care in acquiring the objects, the lack of specificity
or thoughtfulness when noting tribal names, contexts
that the object circulated in, and, most importantly,
gaining permission through reciprocal processes
of approval to collect the object in the first place.
Linklaters artworks appear like the zombie-
doubles of the original artifacts, without a soul or a
life, commenting on the ways in which the UMFA
holdings are composed of these diminished relics. The
artworks then provide a cutting critique and lively
engagement with contemporary art and the continued
resurgence of Indigenous cultures across North
America. As Rosa Menkman writes in relation to
glitch art, Through these voids, artists and spectators
1 I realize that 3D printing can be done with a range of materials,
from bioplastics to clay to various types of resins. What I am
primarily concerned with here, though, is the implication of oil in the
manufacture and creation of hacker and artistic cultures through the
material of plastic.
The Domestication of Plastic #methods #kipple #remesh
Project Format Theme Action

can understand the politics behind the code and voice

a critique of digital media (2010, 4). Linklaters works
can be understood within this framework of the glitch,
introducing an aberrant space that allows for critical
reflection and commentary on the colonial structures
of museums. Further, the possibility of replication of
the 3D rendering coupled with the consumer quality
status of the objects themselves undermines the
museums quest for an authentic Indigenousness that
is rather the fabrication of a colonial imaginary.

In addition to the possibilities for engagement and

critique by artists, the repurposing and hacking of
the systems of 3D printing provide ways for plastics
to be domestically recycled a moment that seems
to herald in a future when we, as a culture, will
acknowledge the incredible value of this material of
compressed time. 3D printing offers the possibility
of recomposition of the intimacies of oil. But these
processes of violent extraction do not go away and
in the endless proliferation and replication of objects
in our everyday lives, the space of critique is often
not so far away from complicity. It is negotiating the
immanence of oil to provide glitches, cracks, and
imperfect renderings that new imaginaries of plastic
unfold.

Works Cited

Menkman, Rosa. Glitch Studies Manifesto 2010.

Michael, Mike. Process and plasticity: Printing, prototyping and the

prospects of plastic in Accumulation: The Material Politics of Plastic,
edited by Jennifer Gabrys, Gay Hawkins and Mike Michael, 30-46. London:
Routledge, 2014.

Steyerl, Hito. In Defense of the Poor Image e-flux 10 (November 2009)

Whitney Tassie. Salt 11: Duane Linklater Utah Museum of Fine Arts, 2015.
Kanyaphorn Kaewprasert and Desire Grammar Totem 2014 #recipe #play #morph
Kornkamon Kaewprasert with Project Year Format Theme Action

Gaia Scagnetti (contributor)

Author A visualising machine
that reifies your desire
into a totem

Desire
Grammar
Totem
Desire Grammar Totem
Project
We believe in desire as a fluid, multiple and dynamic
force, something positive and productive. As a force,
desire renders worlds of transformation, destruction
and construction. Desire dictates priorities; priorities
shape choices; choices determine actions. Desire
returns the most powerful of the intentions. It extends
beyond the individual and it is in action always: there is
no life without desire, there is no quiet moment for the
desiring mind.
Desire is a function of the properties we attribute
to objects; those attributions actually evolve. The
designation of value to objects (and the social exchange
of it) stimulates desire. This project, Desire Grammar
Totem, discusses undervalued and tacit desires.
Once an individual desire is expressed and
communicated into the system, the message needs to
be encoded and reified. A body of rules, a Grammar,
was set as a translator. The Grammar transforms
words into forms. This grammar is not concerned with
meaning but with the formal expression of the desire.
The system performs semantic analysis, sentiment
analysis, key words detections and a series of
numerical operations on the input. It uses the results
of this analysis to generate a three-dimensional model.
This form is only meaningful to its author, for everybody
else it is a mere abstract object.
In the third part of the project we use additive
technology to generate a Totem; a three-dimensional
printed visualisation of your desire. Totem
demonstrates how human belief can be transposed
into a tangible form. The belief in the inherent power of
a Totem requires a new understanding of our cultural
connotations of 3D printed objects: not an unfinished
and temporary prototype, but a quasi-religious
representation of our inner self. In this project, additive
technology not only makes an invisible desire visible
but also tangible. Desire Grammar Totem underlines
the contrast between the sacredness of totems and the
secularity of additive technology. The Totem is framed
in a glass bell jar; it functions as a memento to our
belief that desires can come true.
Technical Description
The question we asked our users was What is your
dearest desire? An unlimited character input text
field constitutes the first interaction with the system
interface.
To inform the design of Desire Grammar Totem,
we conducted a qualitative analysis of more than a
hundred users generated answers to this question.
The study aimed to explore the answers variations in
order to create a functional Grammar. The Grammar
defines the rules translating users answers in three-
dimensional forms.
#recipe #play #morph
Format Theme Action
The research provided very useful insights. It indicated
that linguistic sentence structures cannot be described
by interpreting single words as almost half of the given
answers were multi-clause sentences. Contributors
responses varied in length and complexity. Many
users expressed desires that went beyond self-
concern; many addressed their relationship with others
or sensitive social issues. Positive feelings were
expressed using significantly different text structures
than negative ones.
The conceptual form of a Sphere as symbolic
representation of the Ensof, the origin was used
as a leading metaphor to represent a user answer in
three-dimensional forms. The perfection of the sphere
has been regarded as a symbol of Wisdom without
beginning or ending; just being.
If your answer to the question What is your dearest
desire? is wisdom, your Totem is a sphere.
The body of Grammar has six rules working dialectically
on data analysis written in PHP and three-dimensional
models in Grasshopper, Rhinoceros. The six
Grammars, consist of three compulsory, two addition,
one exception, are designated to extract values.
Grammar i; the number of facets shaping the initial
sphere are decided by word count. The amount will
be mathematically based on 6 range. If the value is
between 1 and 6 then it is converted to a decimal
fraction.
If there are 0-6 words, divide by 1.
If there are 7-12 words, divide by 2.
If there are 13-18 words, divide by 3.
If there are 19-24 words, divide by 4.
If there are 25-30 words, divide by 5.
If there are 31-36 words, divide by 6.
If there are 37-42 words, divide by 7.
If there are 43-48 words, divide by 8.
If there are 49-54 words, divide by 9.
If there are 55-60 words divide by 10.
Desire Grammar Totem
Project
If the answer is;
1 then convert to decimal 1.73959.
2 then convert to decimal 2.98125.
3 then convert to decimal 2.45399.
4 then convert to decimal 1.316126.
5 then convert to decimal 0.86334.
6 then convert to decimal 0.61461.
Grammar ii, the divisions of the facets are decided by
English alphabetical order of the first letter of the last
word. The research sample study showed the presence
of a common pattern: in a simple sentence structure
the answer (your dearest desire) is often expressed
in the last word. Other patterns were identified: in
sentences starting with a first person pronoun, this is
often followed by a verb expressing desire [want, hope,
desire, crave, etc] and lastly by a desired object noun.
In clauses starting with verbs, objects noun are stated
last. In one word answers, the words themselves are
desired objects.
Grammar iii (a), Numbers of the chosen words are
rigidly related to decimal fraction values of Grammar i.
If Grammar i is valued as;
1.73959 then convert to integer 3.
2.98125 then convert to integer 3.
2.45399 then convert to integer 3.
1.36126 then convert to integer 4.
0.86334 then convert to integer 5.
0.61461 then convert to integer 6.
x coordinates are related to the order in linguistic
structure starting the first order from 0. Variable of
value is between 0 to 5
Grammar iii (b), y coordinates portray symbolic
meaning to form. Sentiment analysis labelling defines
positive or neutral as convex forms, negative as
concave forms.
If positive or neutral is labeled;
Count how many letters of the chosen words
sequentially. The given value will be mathematically
mode with number of divisions or the answer from
Grammar ii.
If negative is labeled;
Count how many letters of the chosen words
sequentially then add half amount of division numbers
to the value. The given value will be mathematically
mode with number of divisions or the answer from
Grammar ii.
Then, connect the x-y coordinates together
sequentially.
#recipe #play #morph
Format Theme Action
Grammar iv, Additional grammar for well regarded
explanation of desire. Detected subordinative
conjunctions adds another layer of complexity to the
form by rearranging sequence of x-y coordinates
connection.
If subordinative conjunction(s) is/are detected;
Count how many of the conjunctions then to be
mathematically mode with numbers of contours or
the answer of Grammar i before converted to decimal
fraction. The value indicates the sequence order that
will be queued two order behind.
Grammar v, Desire for others conveys intentions.
Originator will be given a special treat; special material.
Detecting the preposition For accompanied by Noun(s)
or Pronoun identified by WordNet lexical semantics
resource.
Grammar vi, The only exceptional grammar hacked its
own rules of all stated Grammars by replacing symbolic
meaning. If the word Wisdom is detected, create a
perfect sphere.
Through a translation process, desire is encoded into
values. The values to be filled in variables are in a
given file to progress via Grasshopper, Rhinoceros.
A Totem is originated from sixty millimetre diameter in x
axis sphere. Variable of facets and divisions of curved
components are dictated by encoded values. Basic
forms and structures were assigned. The finishing
process refines the surface combining all joints by
plug-in Weaverbird mesh edges and Exoskeleton.
When the calculation is finished, virtual representations
of totems will be automatically uploaded to Sketchfab
under account desiregrammartotem. And again the
visualisations are uploaded back to an embedded
platform on interface. Three-dimensional printing is
the final process of objectification. The printed Totem
is encapsulated in a glass bell jar with a white marble
base and copper plate internal surface. Each object
has a unique identification number printed on every
marble base.
Desire Grammar Totem #recipe #play #morph
Project Format Theme Action

The totems were attributed to

Left to Right Top to Bottom
Paweennuth Piamjinda, Chanagunt
Jaratwasan,Supakarn Niruktisart,
Lara Lesmes, Kanit Tantivejkul, Gaia
Scagnetti, Jariyaporn Prachasartta,
Thanath Santati, Fredrik Hellberg
ARTEKLAB USOA 1.0 (Ultimate Software Open Animal) 2015 #device #postnature #morph
Author Project Year Format Theme Action

USOA updates the function of

pigeons as messengers through
an exostructure with information
transmitting possibilities
(cyborg pigeon?)

USOA 1.0
(Ultimate
Software
Open Animal)
USOA 1.0 (Ultimate Software Open Animal)
Project
A few days after an #additivism
workshop, held at ARTKELAB, San
Sebastian in Summer 2015, we
heard some extraordinary news.
A pigeon had been arrested by
the Indian authorities accused of
espionage. On its wings a message
in Urdu had been written as well
as a serial number. This story did
not have a further chapter, but it
intrigued us that someone found
in these birds a way to send a
message, however incidental or
humorous it may have been.
We had unconsciously done the
same thing with our USOA project.
With no clear purpose we had
decided to use this animal part
of our society so integrated
within it (probably even better than
humans ) to extend or start a new
relationship. Its main features are an
incomparable sense of orientation
and a full proof fidelity towards its
home. Not bad.
This interest in pigeons as a mobile
resource, in our drone-obsessed
generation, is not incidental.
The history of autonomous
communication by pigeon is far
from anecdotal. Lets make a short
review of its history then.
The first pigeon we designed as
a communicating object received,
after several iterations, an Olive tree
branch from the mainland that let
him know his sailing journey was
over. This first messenger is now the
icon for universal peace and love.
The Egyptians, Darwin says, used
pigeons five thousand years ago
to communicate between their
cities and send messengers from
the ships as they approached
the harbor. Genghis Khan led his
fleet with these birds too. Ancient
Greeks used them as well in Belic
conflicts and to announce the result
of the Olympic games. Since then
pigeons have been a silenced but
functional resource in autonomous
communication.
reliant on the human environment
Legend has it that in 1815 Nathan
Rothschild used one of these
amazing birds to transmit the
result of the Waterloo battle. The
information was received ahead
of other traders, consequently
ensuring massive stock investments
were made which secured the
House of Rothschilds fortune.
In subsequent wars these bird
messengers were targeted by
trained hawks and specialized
snipers, or kidnapped to confuse
the enemy with fake messages. The
Soviet invasion of Afghanistan was
itself announced by carrier pigeon.
In peaceful times they have been
used to send medicines and blood
#device #postnature #morph
Format Theme Action
samples, or even to deliver semen
to fertilize cattle in difficult to access
regions.
We must admit that the more we
learnt about the carrier pigeon, the
more fascinated we became.
This was the foundation of our
interest when we created USOA. A
priori vision of using living beings as
a helper, an animated resource, was
enough. With the USOA project,
we pose the question: are we
upgrading the pigeon by dressing
it up, protecting it, and giving it an
exostructure? If it is cruel then so
is human life. Is making animals
always cruel? This is a question that
only the pigeons can answer.
Giving a function to some thing
some creature automatically
stands for giving it a responsibility
and, perhaps, a value. We
understand liberty as the joy
experienced by a biological life
in Paradise before we covered
ourselves with a fig tree leave.
We do not think of USOA as
being a gift for the pigeon.
Neither is it merely a mission
statement, a defensive element or
a life sentence. USOA is neither
a completely positive or negative
element for the pigeon species.
Welcome to the human system.
Tom Burtonwood Global Reconstruction of Artifacts 2016 #fabulation #futures #collide
Author and Bygones (G.R.A.B.) Year Format Theme Action
Project
A state level multinational
organization tasked with capturing
three-dimensional digital copies
of the worlds cultural artifacts and
bygones

Global
Reconstruction
of Artifacts
and Bygones
(G.R.A.B.)
Global Reconstruction of Artifacts and Bygones (G.R.A.B.) #fabulation #futures #collide
Project Format Theme Action

Although purportedly altruistic in character the true identity and purpose of the multinational entity Global
Reconstruction of Artifacts and Bygones (G.R.A.B.) is not entirely clear. Established in 2016 G.R.A.B. is a
state level multinational organization tasked with capturing three-dimensional digital copies of the worlds
cultural artifacts and bygones. G.R.A.B. sprang onto the world stage in the early stages of the twenty-first
century in response to the growing unease at heritage sites being destroyed by war and environmental
disaster.

Brushing off criticism of cultural colonialism and intellectual property theft G.R.A.B. quickly embarked on a
global campaign to identify and locate canonical pieces of sculpture and architecture. Equipped with their
hit list of must have items G.R.A.B dispatched its agents around the world to 3D scan and digitally capture
these artifacts and bygones. Working in partnership with the armed forces of the worlds super powers
G.R.A.B was able to embed its scanning equipment on a range of platforms from battle tanks, to drone
and even infantry patrols. In this manner G.R.A.B. was able to record the capture important cultural works
in some case moments before their destruction.

Once captured G.R.A.B. agents transmit the three-dimensional data directly both to facilities in secure
locations around the world and onward to orbital fabrication platforms. As this leaked slide presentation
shows, G.R.A.B is purportedly backing up cultural treasures from around the world in a hedge against
catastrophe, but for whose benefit this is being undertaken is not entirely clear. The hardened facilities
illustrated in the slides are far from urban centers and the artifacts archived there are inaccessible at best.
The orbital and space based platforms are even further removed from the general populace.

While the efforts of G.R.A.B. to preserve heritage are to be commended the cost and resources deployed
in this endeavor could surely be put to better use, staving off the delinquent effects of climate change for
example or ameliorating the encroaching trauma might be a good place to start.

Land Mounted Acquisition G.R.A.B. satellite

Object Sensor (L.M.A.O.S) relays data to G.R.A.B.
transmits 3D data to server #2.
G.R.A.B. server #1
At hardened G.R.A.B.
facility identical copy is
fabricated and place
into storage.

G.R.A.B. (Global Reconstruction of Artifacts and Bygones)

Global Reconstruction of Artifacts and Bygones (G.R.A.B.) #fabulation #futures #collide
Project Format Theme Action

Unmanned Aerial Vehicle Mounted Data of captured artifact is

Acquisition Object Sensor fabricated at secure
(U.A.V.M.A.O.S.) captures artifact. G.R.A.B. facility

G.R.A.B. (Global Reconstruction of Artifacts and Bygones)

G.R.A.B. Land Vehicle Mounted

Acquisition System (L.V.M.A.S.)
enables convenient 3D data cap-
ture during normal combat opera-
tions.

G.R.A.B. (Global Reconstruction of Artifacts and Bygones)

Global Reconstruction of Artifacts and Bygones (G.R.A.B.) #fabulation #futures #collide
Project Format Theme Action

Data from patrol is passed to

G.R.A.B. server for processing

G.R.A.B.

G.R.A.B. (Global Reconstruction of Artifacts and Bygones)

G.R.A.B.

Data from G.R.A.B. cloud

is passed to fabrication
robots at a G.R.A.B. facility
for reconstruction.

Copied artifacts are placed

into storage.
G.R.A.B. Storage Farm

G.R.A.B. Fabrication Robots

G.R.A.B. (Global Reconstruction of Artifacts and Bygones)

Global Reconstruction of Artifacts and Bygones (G.R.A.B.) #fabulation #futures #collide
Project Format Theme Action

G.R.A.B. (Global Reconstruction of Artifacts and Bygones)

In preparation for planetary

catastrophe and / or extinc-
tion level events G.R.A.B.
will backup Artifacts and
Bygones on both orbital
and lunar platforms.

Selected artifacts will be

sent into space as emissar-
ies of humanity.

G.R.A.B. (Global Reconstruction of Artifacts and Bygones)

Tom Lauerman Open Source Clay Printing
Author Project
Open
Source
Clay
Printing
This is an open-source clay
extruding print head that can be
used on numerous 3D printers.
Ill add a proper how-to soon,
and a video or two. It is a work in
progress. It is based on pioneering
work by Unfold, Jonathan Keep, the
Wasp Group, and more. The project
was initiated by Tom Lauerman at
2016
Year
Penn State University, School of
Visual Arts and is being developed
in collaboration with Engineering
Students as part of the Universitys
Learning Factory program. The
work is supported, in part, by
Penn States Center for Innovative
Material Processing through Direct
Digital Deposition (CIMP-3D).
#recipe #matter #extrude
Format Theme Action
Open-source clay extruding
print head that can be used
on numerous 3D printers
This is only the print head portion
of the design. A clay feed system
is in active development and will
follow. For a complete parts list
check the Bill Of Materials section.
The print head costs about $30
USD to build (excluding printed
parts). A video of the system
working can be found here.
Open Source Clay Printing #recipe #matter #extrude
Project Format Theme Action

All the parts needed to

build this open source clay
extruder:

1. Printed extruder.

2. Printed base.

3. Nema 17 stepper motor

(I purchased mine from Lulzbot: $13.95).

4. Aluminum coupler 5mm on both ends. (I purchased mine from Inventables: $6.95).

5. 1/2 Flat faucet washer. I purchased a pack of 10 at Home Depot for $1.69, (the
outside dimension of this rubber washer is 3/4, the inside diameter is 1/8. It is
1/8 thick. (Why is this called a 1/2 washer?)).

6. Deck Screw 1/4 x 4. I bought mine at a local Ace Hardware for $1.60. I used a
Timber-Tite brand heres a pack of 50 at Amazon. Id imagine any similar screw
would work, perhaps better.

7. Cake decorating tips. This is the nozzle of the print head. There are numerous
shapes and sizes available, all of which could work potentially. Two brands which
fit this extruder are Ateco and PME. The Ateco ones are about $1 each, the PME are
about $6 each. Cake decorating Pros rave about the more expensive PME tips.

8. 3/8 x 3/8 push fit male adapter. I got mine at Lowes for $3.49. The same one is on
Amazon.

9. (4) M3 x 14mm Socket Cap Screws. Approx. $0.15 at any hardware store.

10. (2) M4 x 20mm Socket Cap Screws. Approx. $0.15 at any hardware store.

11. (2) M4 Wing Nuts. Approx. $0.75 at any hardware store.

12. (Totally optional) plastic thumb screw heads M3 & M4. These make it easy to remove
screws without a wrench. I purchased these at McMaster Carr.

13. (Totally optional) 4 pin JST connectors. I solder these onto my motor wires to make
attaching and detaching the extruder motor really simple. I switch between plastic
and clay printing frequently and am always swapping print heads. I bought these on
Amazon.

Total Cost: $29.58 (excluding printed parts)

Open Source Clay Printing #recipe #matter #extrude
Project Format Theme Action
Lo Sexer Raflesia 2015 #device #resistance #collide
Author Project Year Format Theme Action

Parasitic wind turbine

Raflesia
Raflesia
Project
Raflesia is a parasitic wind
turbine. It attaches to air sources
within the city with its three
magnetic legs. The turbine
gathers the excess wind through
a system of gears and motors,
collecting enough energy to
power small electronic devices.
Most of the parts can be 3D
printed by everyone, and the
rest, such as the electronic parts,
can easily be purchased online.
The object had to be as simple
as possible; simple yet very
powerful. Electricity is a valuable
resource, and as every resource
#device #resistance #collide
Format Theme Action
it can be an object of greed. In a
world where energy is becoming
more and more valuable Raflesia
could become a very useful
tool. By parasitizing energy
consuming devices such as air
conditioners energy becomes
a fluid, neither raw input nor
waste output. Raflesia was
influenced by Michael Rakowitz's
paraSITE project, which used
air conditioning system to inflate
shelters for homeless people.
It is a way to point at a social
issue. To provide context and
intervention at a local scale. Photos by Roseanna Jackson
XXX Rothstein
Adam XXX#Additivism Against the Art of Tln/
XXX 2016 #XXX
#methods#XXX
#alchemy #XXX
#collide
Author Time Travel by Methods of Magick
Project Year Year Format
Format Theme
Theme Action
Action
Project

Title
#Additivism Against
the Art of Tln/
Short description
Time Travel by
Methods of Magick

Let every magickal

act of #additivism
never be without
a component
sacrifice. Let every
human moment
be worth the
historical time
destroyed.
#Additivism Against the Art of Tln /
Time Travel by Methods of Magick
Project
Step 1: Philosophy
There are a number of different magickal formulae by
which to accomplish time travel. #Additivism is one of
them. This magick is dangerous, and should only be
used with skill and caution.
Time is the fourth dimension, and human beings
are equipped to perceive three. When you cant
experience a dimension, you see it flattened, like a
shadow. A cube, moving in front of a light source,
produces a flat square, or a six-sided polygon when
the light is at an angle. As time changes shape, we
experience the present, a flattened notion of duration
in our limited consciousness, like the circular shadow
of ripples on the bottom of a pond. We recognize that
there is something up in the fourth dimension, doing
something. We strive to step out of the dimensional
constraints of our existence, to look back down at
the muck in the bottom of the pond as we surf those
ripples and make our own waves, to throw our shadow
down like a missile onto others memories. We will
never quite manage this, and yet we try.
But we do have memory. Memory a lingering half-
life of the decaying present, is the furrows carved
by times shadow within our neurological chemistry
like a wake. Memory allows us to see the change in
times shadow by animating relative difference like
the frames of a film. This hologrammed artifice of the
third dimension is the fourth dimension we imagine
that we can see.
Our consciousness, where memory exists, has its own
pseudo-dimensional quality, casting its own shadows
outward upon the three dimensions we inhabit, as
we try to change the world to resemble our desires.
These vivid shapes and colors are also rendered
flatly: as ideas, as categories, as progressions of
action. The shadows we project from memory, we call
history. That zoopraxiscope projects upward upon the
underside of the ponds surface, and so we imagine
that those images unite with the fourth dimension, and
take us with them. But it is only a projection. History
will never unite us with cosmological time, no matter
how vividly we imagine it.
But while we can never join the dimension that
we imagine history to have, we can affect that flat
projection. We travel down those rays of light, from
the screen back into our projector. This is our
time travel. Time travel is a bending of our mental
awareness of the present, via manipulation of history,
and it is an art we have been practicing for years.
Through it, we can vault over the years separating
mortal bodies, we experience lifetimes in mere
#methods #alchemy #collide
Format Theme Action
moments of interpersonal contact, we can shrink
distances by harnessing the most incredible velocities
of matter and energy, we can alter the lifecycle of
the planet by adding catalysts and adding inhibitory
processes.
Dragging stones across the earth is magick. As is
refining thermoplastics from decayed hydrocarbons,
and controlling their melt and flow through space. As
is the fusion of helium from hydrogen occurring inside
of our star. As is the fusion within the weaponry of a
hydrogen bomb.
There are many ways to change history and travel
through time. But they must be done with the
skill that comes from situated knowledges and the
consciousness of historical memory. Otherwise, these
time travels lead to strip mining, to gentrification, to
colonization, to rape, to ecological devastation, to
genocide. This is no mere invocation. This is what our
histories have shown us. These are the histories that
we have chosen to forget. And in this forgetting, Tln
has flourished.
Step 2: Art Theory
Robert Smithsons goal was noble to add the cosmic
into our experience, by imbuing space and objects
with the powers of the earth and time, by making
them more meaningful for us than they would be on
their own. He imagined a crystal made of mirrors, in
which the universe is reflected infinitely, beyond any
attempt to contain it. This celestial order, a monstrous
system of mirrored mazes, is the promise of a world
sculpted with labyrinthine passageways of illusions
and phantasm. In this space, one might experience the
wonder of the world.
In pursuit of this goal, Smithson carved up the
earth, furrowing it with machines, building it up
and digging it out to produce three-dimensional
labyrinths into which one might wander. Smithson
was one of the first land artists, departing the space
of galleries and museums to seek the earth itself, as
the most fundamental canvas for this cosmic art. His
most famous work, Spiral Jetty, moved earth and
stone from land to water, creating a curving structure
of bifurcated classical elements on the shore of the
Great Salt Lake. Under his direction, using bulldozers
running on the burning exhalations of decayed
organic life, the earth was cut stained with the
dimensionally additivistic tattoo of the artist, paving
his labyrinthine mark upon the face of the planet.
Smithson was also an essayist, printing his
motivations into words, layering up ideas in parallel
lines. He died in 1973, plummeting from the sky into
#Additivism Against the Art of Tln /
Time Travel by Methods of Magick
Project
the earth, while traveling in a small plane, surveying
the site for a new potential earth work. It would be
macabre to wrap this death in linguistic metaphor a
drooping parabolic climax, at which inverted zenith
the eye of the artist finally came into contact with its
material, when the circuit of orbits between ideal and
actual were finally closed. He was merely sublimated
from the mortal coil in the grips of which we still
flow. As his body vanished, the words and the earth he
worked became more synonymous, over time. And so
they spiral around us still, dated and simultaneously
present, until we too disappear. Given such roiling
words, half-buried in soil, how could we not excavate
them? His body meanwhile, has the privilege of not
being in a museum.
In words he describe his works, he builds up substance
using phrases like primordial, and primitive. He
desires to scan and copy the aesthetic of monuments,
of the Egyptian, Mayan, Inca, Aztec, Druid, Indian,
etc. traditions, in order to invoke primes that
establish enigmas not explanations. As if, by reducing
the vastness of millenia past to a simple enigma, his
own feat of magick would be the act of concealing
the past within a polymerized mimicry of it, reducing
thousands of years and unnamed past lives an
invisible molecular chain, melting their work into his.
Smithson prefers an idealistic sense of history, in
which vast contemporary actions can stand in for
the passage of millenia. In which the sculpting of a
park could somehow take the place of the growing
of actual forest. He praises Frederick Law Olmsted,
the designer of Central Park, for advancing what
Smithson calls dialectical landscapes, in which
development of the urban environment is not just
aesthetic, but literal progressivism:
The site of Central Park was the result of urban
blight trees were cut down by the early settlers
without any thought of the future. Such a site could
be reclaimed by direct earth-moving without fear
of upsetting the ecology. My own experience is
that the best sites for earth art are sites that have
been disrupted by industry, reckless urbanization,
or natures own devastation. [...] Such land is
cultivated or recycled as art.
But the late 19th Century Olmsted, today, would
have been his own industry that of real estate.
Throughout his development of the boroughs of New
York City, was a fundamental belief in the ability
of parks to improve property values. In a similar
procedure to what is called gentrification today,
Olmsted added parks to the city as a means of creating
natural buffers of public green space, with the effect
#methods #alchemy #collide
Format Theme Action
of raising the value of private property. As much as
Central Park is considered emblematic of New York
City picturesque qualities, the method of green class
stratification it introduced might also be considered
emblematic of that citys current housing and wealth
distribution woes.
If Smithsons sense of history is blinded, and his
material politics are reactionary, his sexual politics
border on the performatively violent. He speaks of his
work upon the earth as cultivation unambiguously,
and embracing it in a sexual metaphor, rebuked his
critics as scandalized psychologists:
Sex isnt all a series of rapes. The farmer or
engineer who cuts into the land can either cultivate
it or devastate it. Representing nature once
removed in lyric poetry and landscape painting is
not the same as direct cultivation of the land. If
strip miners were less alienated from the nature
in themselves and free of sexual aggression,
cultivation would take place.
Sex may not be entirely rape, but the earth has never
been a woman. And furthermore, even if it was,
declaring oneself a skilled lover wont make that
woman into your artifice.
In Smithsons time, history was passe. To connect art
into a lineage is to bow to royal paternalism rather
than the power of the cosmic. To treat action with
eternal consequence is to reject the beauty of enigma.
It was enough to be progressive, to create change.
Because as long as your change looks good, you are
cultivating. And thus, Smithson seeks nondurational
histories, rather than the value of temporal events in
the natural history of Modernism.
In his writing, Smithson invokes the wonder of Borges
labyrinths, in which every door revealed more doors,
and every known fact engendered more unknown
facts. But Borges told a parable of what happens when
one fetishizes the three-dimensional image of the
labyrinth, rather than the four dimensional journey
through it. This, he named Tln.
Tln was an invented world, discovered by the
narrator of Borges short story, Tln, Uqbar, Orbis
Tertius. A chance mention in an encyclopedia brought
to the narrators attention led to the discovery of
articles, and eventually an entire encyclopedia, listing
the categorical knowledge of this philosophically
strange and completely unreal place. The people
of Tln, oddly, do not believe in causality. They
consider it a myth, a paradox, a mere rhetorical trick
of association, to say that one occurrence causes
#Additivism Against the Art of Tln /
Time Travel by Methods of Magick
Project
another. The perception of a cloud of smoke on the
horizon and then of the burning field and then of the
half-extinguished cigarette that produced the blaze is
considered an example of association of ideas.
But slowly, Tln begins invading the world of
the narrator. Irrational objects mentioned in the
encyclopedia appear. Tlns history begins erasing that
worlds history, its science and philosophy replacing
what had been beyond doubt. The narrator of the story,
published in 1940 but set in 1947, describes it thusly:
Ten years ago any symmetry with a resemblance
of order dialectical materialism, anti-Semitism,
Nazism was sufficient to entrance the minds
of men. How could one do other than submit to
Tln, to the minute and vast evidence of an orderly
plant? It is useless to answer that reality is also
orderly. Perhaps it is, but in accordance with divine
laws I translate: inhuman laws which we never
quite grasp. Tln is surely a labyrinth, but it is a
labyrinth devised by men, a labyrinth destined to
be deciphered by men.
It is the history of totalitarianism that Smithsons era
is reacting against. Not just the fact of those terrible
events, but their utilization of history as teleological
justification for terrorism, in pursuit of a future
foretold in the events of the past.
But in ignoring the systems of history, in refusing to
acknowledge the oppressive class, gender, and race
mechanisms in everything we do, we all become that
much more susceptible to Tln, and in fact, invite
its invasion across our earth. We invite temporal
microaggressions of sex, class, and race to expand into
historical macroaggressions. We ignore ecology to
focus on basic progresses of valued added, treating
cultivation as industry. We do not so much deify the
earth into a raped Gaia, as treat human bodies as one
more vein of mineral wealth to be expropriated and
extracted. And then we bury these poisonous secrets
in our aquifers and wells.
Our cosmology must not be of timelessness, but fully
embodied by time, set alive by it, running on that
unwinding spring as the systems of our planet unfold
and collapse before our eyes. History is our enigma,
because we can never escape the fate that comes as
a result of our individual and combined actions. In
the broken down clockwork of our historical ecology,
perceived through the limits of finite memory, we find
the place where we must do our work.
#methods #alchemy #collide
Format Theme Action
Step 3: Magick
These spells are listed in order of temporal velocity.
Spell of Fusion
The suns power density, given its gigantic mass, is
about the same as a heap of active compost. You,
composting, could be as powerful by weight as the
sun.
Spell instructions: Respirate. Use your vascular and
respiratory system to change glucose and oxygen into
water, carbon dioxide, and energy. Pull each molecule
out of the atmosphere, and transport it to your cells.
Move slowly. Break molecules. Build new ones. Each
breath is a balance, each molecular conversion is
unavoidably written into history, and we must live
with this, until suddenly we dont.
Spell of Geologic Transformation
In exposed strata, we read the molecular history of
eras. In the erosion of the land to reveal strata, we see
a three-dimensional exposure of history.
Spell instructions: Find two adjacent form of rocks,
and learn what they are. Visible in this difference,
is the mercy of times destruction. What life forms
might be in that rock? What life forms are working
to expose that rock to you, so that you might learn
their history? Somewhere in the rejection of dogmatic
definitions of life, is bliss in catastrophism.
Spell of Crystal Growth
Molecules attach themselves in uniform patterns,
building structures according to their inherent
geometries and the full possibility of mathematical
topology. In such regularity, is aesthetic shape, and
potentially, translucence.
Spell instructions: Hold an electronic device that
requires crystals to function. Anything with a screen,
with a piezoelectric sensor, with a processor timed
with a crystal oscillator. Natures bounty, understood
in natural laws, has allowed us to destroy scarcity.
Considering this a spiritual truth, we now lash out at
deserts. Eat salt and sweat, to dissolve and grow your
own crystals.
Spell of Amine Feedback
These particular molecules are foundational building
blocks in the chemistry of life, in which a nitrogen
atom is connected to other groups.
Spell instructions: Ayahuasca brews are a combination
of dimethyltryptamine, and a monoamine oxidase
inhibitor. By changing the chemistry of amines in
#Additivism Against the Art of Tln / #methods #alchemy #collide
Time Travel by Methods of Magick Format Theme Action
Project

the brain, the psychological experience of ego loss Let every magickal act of #additivism never be
and inter-dimensional travel can be approximated. without a component sacrifice. Let every human
Or, if that is too much to handle or you dont want moment be worth the historical time destroyed.
to be culturally appropriative, use caffeine to alter
your amines, and experience time change at a more
psychologically manageable rate. Turn all that is
solidly built into rubble, and make that the new truth.
In reward for your action, expect a kingdom of soil.
Dont become a prisoner of methods.

Spell of Cellular Harvest

Units of life, independent on their own, united in
bodies.

Spell instructions: Resist the urge to breed for a day,

and instead, grow yeast in bread dough, or ferment
something. Eat the product of the cells labors, and
feed your cells. In so doing, join with the entirety of
human history, who have been feasting off the actions
of yeast cells since before we invented writing. These
previously unknown forces, mastered, make us drunk
on our discoveries.

Spell of Plant Culturing

Movement without muscles. Bodies that split and
combine. Photosynthesis is perhaps the most honest
form of energy production, but even with roots one
can be invasive.

Spell instructions: System are not materials, but an act

of balancing materials. Grow something from seed.
Grow something not from seed. Find one invasive
plant and remove it. Embrace the sorrow of every
species that has ever gone extinct, and the joy of every
population speciated off from its progenitors.

Spell of Animal Communion

Socrates is a human, but not all humans are Socrates.

Spell instructions: Violence is our mighty method,

and so we rule over an underworld. Interact with
an animal on its terms, not your own. Become
comfortable with the fact that you will never learn the
animals language, and then begin to speak. A battle is
coming, which we deserve.

Spell of Artifice Process

What we make ends up making us.

Spell instructions: We have a garden in artifice.

Heed its blossoms. Build something and then take it
apart again. Fully. Return its raw materials to their
molecular state. If you cannot do this, make a sacrifice
of a possession to atone for your failure. Let justice be
the guide for the sacrifice of any possession, let justice
be the guide for the addition of any possession.
Sophie Kahn On Preserving Glitch
Author Project
On
Preserving
Glitch
In a folder on my desktop, I keep
a folder entitled weird errors. I
also advise all my students to
do the same. Its inevitable that,
in the course of learning to 3D
model, scan or print, odd results
can arise. Instead of committing
these files to the wastebasket,
I tell students to keep them all,
along with a short note detailing
the steps that led to their creation.
As an artist I have always found it
imperative to keep an eye open to
the mistakes, glitches and strange
detours that crop up while pursuing
a project. (I now outsource most of
my fabrication, but an unfortunate
2016
Year
consequence of this post-studio
practice is that errors are seen
only by fabricators. I also ask my
fabricators to send me images
of any errors that happen and
corrected before the artist can
observe them and perhaps turn
them into a new body of work.)
In my own practice, I misuse high-
end 3D laser scanners in order to
yield glitchy results. It has been a
challenge to learn to 3D print my
files without erasing their native
aesthetic. Most tutorials on 3D
printing focus on repair: patching
holes, deleting areas of bad data,
and smoothing surfaces in order
#recipe #beyond #smooth
Format Theme Action
Tutorial for translating
glitchy files into a form
which 3D printers can
understand
to produce a result that looks
natural and closer to the original.
In my practice, I do the opposite.
Of course I manipulate my files,
but I try to expose the glitches
that arise along the way instead of
correcting them. An incomplete 3D
scan reveals the incompleteness of
human vision; made from a single
perspective, it only takes a slight
rotation to reveal the gaps and blind
spots, all the things we do not see.
Below is a brief tutorial on how to
process a glitchy file in order for a
3D printer to understand it.
On Preserving Glitch #recipe #beyond #smooth
Project Format Theme Action

STEP 1: Obtain a glitchy file (image 1) order for a 3D printer to understand

a file, it needs to meet certain
This could be a basic conditions. It must be a single
poorly done 3D watertight surface; all the polygons
scan, or a 3D file must be facing the same way (polygon
that arose when faces have a direction called a normal
you did something that isnt usually visible in the GUI,
uninspected: but the printer software will need to
turned a sphere know which side is the inside and which
inside out, or is outside, and this can get scrambled in
ran an operation glitchy files); and it needs to conform
that caused your to the limits of the material you want
object to break to use for printing. This is called wall
out in a rash of thickness and is important so that the
polygons. The final piece does not break on printing, or
most interesting on removing from the machine. If you did
results often not create your file in a solid modeling
arise when you program like TinkerCAD, chances are it
use a tool for has no inherent thickness (my scans
a purpose for are merely skins with a zero value for
which it was not thickness). The first step is to turn your
designed: in my case, try to 3D scan shape into a solid, three-dimensional
a moving body. My file is an incomplete object. The very quickest way to solidify
3D laser scan of my body, swathed in a without filling in holes or cracks is to
bed-sheet and holding the 3D scanners offset the mesh. This creates a copy of
magnetic locator cube which in the the surface at a uniform distance. After
image appears to be some kind of extensive experimentation, the only way
ceremonial object. My eyes are closed I have found to perform this operation
to protect them from the scanners not- (if you dont have $10,000+ to drop on
quite-eye-safe laser beam but it Geomagic) is to use Rhinoceros. Its not
appears that I am deep in meditation. free but it does have a 90-day trial and
a Mac beta here (if your file is largely
STEP 2: Analyse the file in Netfabb Basic solid, e.g. a scan of an object in 360
(image 2) degrees that has only small holes, you
may omit this step).
Import using
part->add in STEP 3: Offset in Rhino (image 3, file
order to view and BustOffsetInRhino)
get some basic
information on Make sure your file
your file. If the is the size that
dimensions do you want it to be,
not look right, then offsetit by a
use part->scale minimal amount.
to adjust them. Use OffsetMesh in
Then look to see the Rhino command
if the surface is line and make sure
open or closed. that solidify is
If you hit the checked. Export
repair icon (red it as an obj and
cross on the import it back into
toolbar) Netfabb Netfabb. Choosing
will provide the correct wall
some statistics, thickness is
including the critical: if you are ordering through a
number of holes in the file. You will be service bureau like Shapeways, the file
able to see if it is an open surface as must pass wall thickness requirements or
one side will be red (in Netfabb, green it will be rejected. There is little room
is outside and green is inside.) In for experimentation with large factories
On Preserving Glitch #recipe #beyond #smooth
Project Format Theme Action

or service bureaus, as one print that selected that you dont want to delete,
does not go through correctly can crash you will need to join them on manually
their build and cost thousands in lost to the main shell by deleting faces and
revenue. You may have more luck if you then adding triangles to join them on.)
have access to your own 3D printer at Hit the delete key to remove these. The
a school or lab. Another reason to keep shells window in the repair module should
the piece as thin as possible, but no now have a count of 1.
thinner, is that 3D printing material is
usually priced by the cubic centimeter. STEP 6: Manual Repair (image 6)
You will also need to carefully consider
wall thickness if you plan to cast The workflow above
the piece later: my foundry have had a is a brief overview
challenging time with casting any prints of the most minimal
that are under 3 or 4mm thick. (The steps that you will
irony and hubris of taking something need to obtain a
as ephemeral as a digital glitch, then printable stl file.
printing and immortalizing it in bronze, I have omitted any
which will outlive us all unless melted automatic operations
down for scrap when the shit inevitably that fill, smooth
hits the fan is not lost on me.) or correct the
appearance of the
STEP 4: Netfabb Repair (image 4) file (offsetting first
in Rhino preserves
I have found that the any existing holes,
most reliable repair instead of filling
workflow in Netfabb them in.) However,
involves running there are no medals
repair operations for authenticity
in this order: in glitch art, and
stitch triangles, you are within your
fill trivial holes, rights to alter your
fill all holes, fix file in any way you wish before printing it.
flipped triangles, Avoiding auto-repair means you may want
remove degenerate to delete or rebuild areas of your model.
faces. (Opt for this You can do this by selecting individual
if you can rather triangles or surfaces (tip change
than the automated the surface tolerance slider to select
repair. You may need smaller or larger areas at any time, or
to bump up the Stitch use CTRL+ or CTRL- to grow or shrink
Triangles tolerance your selection) then delete those areas,
if you still see numerous small holes and fill the holes either in the repair
highlighted in yellow. options or by hitting add triangles and
putting in new triangles to fill gaps.
STEP 5: Remove Extra Shells in Netfabb
(image 5) STEP 7: Finbal
Repair and Export
In the Netfabb (image 7)
repair module, hit
select shells Check that your file
to select the main is now a single
object, then hit error-free shell in
toggle selection Netfabb. Then export
to select all the as an STL file.
other extraneous
shells. (This is
also necessary in
order to avoid
rejections. If any
pieces are now
 Nano Entity Compost Juice Head Still 2016 #device #alchemy #collide
Author Project Year Format Theme Action

Device to optimize the

extraction of pure drinking
water from waste compost
juice

Compost juice
head still

Potential shielding
and finning added Condensation Entry point for
to interior and transfer compost juice,
exterior surface point organic fluids
to enhance and biochemical
condensation reagents

Transparent light
weight enclosure Water collection
with metallic container
embedded surface on
lower area for heat
Organic fluids
concentration
Drain for cleaning
Water drainage and eventual
tube with concentrated waste
micro solids removal
mesh filter and
micro UV filter
Heat transfer
padding for
comfort and
Printable as additional heat
one unit with generation
food safe
flexible water
tubing added
Compost Juice Head Still #device #alchemy #collide
Project Format Theme Action

A still is a device that selectively heats a liquid mixture

and then cools and condenses the resulting vapor to
separate and remove it.

Urban composting systems usually result in a

separation of concentrated liquids from solids as they
break down organic matter. This includes bacterial
systems like Bokashi and even just a simple anaerobic
bucket.

Proposed here is a device to utilize even more

effectively the waste products to extract pure drinking
water. The Compost head juice still uses the waste
liquid to concentrate the waste juice products even
more and extracts useful water from it. It uses a system
similar to a basic solar wick or Transpiration bag to
collect condensed evaporation through gravity.

The main structure uses solar and body generated heat

to slowly vaporize water from the compost juice and
allow it to condense and drip down into a collecting
vessel from where it can be easily removed.
The end result leaves behind salts, metals and
impurities. The solar process also helps with
eliminating microbiological organisms and other
contaminates through UV-A sterilization.
Ideal capacity for liquid surface UV-A penetration is
around the 2-3 liter capacity.
The attractive rounded shape enhances the heat
and light transfer and reflection and increases and
optimizes the available condensation surface. Materials
for the upper surface structure should be highly
transparent if possible to enhance solar sterilization of
the liquids. Ideally this should be printed in PET or a
material that allows UV-A light to pass through it.
Possible enhancements:
A chin strap or bridle may be useful.
A basic fine mesh micro filter could
be added to the internal extraction
point for the mouth tube to remove
possible accidental contamination
with larger solids. Or added to the
open internal area used to collect
the condensate.
A small solar powered heating coil
unit could be designed and added to
the side walls during printing for
cooler climates.
More complex internal surface fins
could be added to the internal
condensation drip surface area to
help collect more vapor.

The lower contact ring area that has contact with the
head should be a more flexible material for comfort
and better fit and possibly impregnated with a metallic
compound for more efficient heat transference from the
body.

There is a simple in/out plug and drain system for

adding juice into the top and removing condensed
material from the base. A generic plug in tube and
mouth piece attachment can be easily obtained from
any hardware or camping supplies store.

This system could also be used for other inputs

such as seawater.
Vimal Patel Monomateriality 2016 #blueprint #matter #constrain
Author Project Year Format Theme Action

Handheld 3D printer, built with

Lego and a hot glue gun

MONOMATERIALITY

Monomateriality combines LEGO with a hot glue

gun to form a simple 3D doodler that extrudes a
biodegradable filament. Its all about accessibility: the
design for the LEGO-built extruder is open so that
others can build upon the concept.

For a university project we were provided with

biodegradable 3D printing filament and asked to
make stuff with it. The intention was to explore
ways of making products solely with this filament
(monomateriality), so that both making and recycling
things can be simple. Multi-material products (like
helmets, which contain foam/plastic/adhesive/paint/
fabric) pose an obstacle to recycling, which is a huge
ecological problem. To replace the functionality of
Monomateriality #blueprint #matter #constrain
Project Format Theme Action

multi-material products using one material, youd first

have to arrange the filament strategically to create
varying zones of stiffness, like Lilian van Daal did with
her Biomimicry chair.

Our university workspace has multiple UP 3D printers,

so it made sense to begin there. These experiments
showed that a variety in stiffness is possible, even on
inexpensive 3D printers. Nevertheless, it was clear that
the layer-by-layer deposition of material constrained the
plane of flexibility to a single axis which made it difficult
to make complex shapes (like a helmet). The ideal
situation would be to extrude material along a path in
multiple axes (i.e., with a robotic arm). This is a damned
difficult thing to model and program, so we sought a
simpler way.

What I did was build an extruder using Lego, and

attached it to a hot glue gun.

I made a thing, which can be used to make more

things. What interests me is not only the potential to
make things functional and biodegradable, but the
accessibility of the making process all you need is
Lego and a cheap hot glue gun. Id like to have this
potential realized in some way. To start, I made a digital
model of the extruder, which can be opened using Lego
Digital Designer.
Monomateriality #blueprint #matter #constrain
Project Format Theme Action

Disclaimer
This project is not associated with or sponsored by LEGO and does not in any way reflect LEGOs views or plans.
Katy Connor Untitled_Force 2016 #device #sense #extrude
Author Project Year Format Theme Action

Haptic based scanning as

body-machine interface

Untitled_Force

Untitled_Force is an alternative approach to 3D printing,

in which process, materiality and indeterminacy are
central. Rather than taking a design-led instrumental
approach [CAD] this project takes the data from one field
of modeling Atomic Force Microscopy (AFM) and
places it into the context of the 3D modeling software.
Untitled_Force #device #sense #extrude
Project Format Theme Action

The OBJ data file is from an AFM scan of my blood.

The size of this particular scan is 50x50 micrometers or
50 x10-3 mm (absolute size).

The AFM is one of the foremost tools for imaging,

measuring, and manipulating matter at the nanoscale.
In one of its applications in industry, AFM is used
in developing the miniaturization of computer hard-
drives. The information is gathered by feeling the
surface with a piezoelectric ceramic probe, which
senses the surface of the material and measures the
van der Waals forces between molecules. A data
file is produced that can be read both as a flat, two-
dimensional image, and as a topographical three-
dimensional surface.

The image is therefore not produced through an optical

or light-based (photographic) process, but a scanning
process outside human perception.

woman takes pleasure more from touching than

from looking (Luce Irigaray, This Sex Which is Not
One, 1985 p. 26)

The AFM is a highly sensitive technological instrument.

Housed in a sealed lab, it demands that its users wear
protective lab overalls. In reflecting upon this physical
sensitivity to vibration, to touch, invites the user into
a haptic, responsive relationship with the machine:
touching, not mastering (Laura U. Marks, Touch, 2002
p. xii)

Thinking about this process as a haptic relationship

provides for a sensual encounter between the natural
material of my body and the touch of the machine: it is
through a haptic sense of touch that the topography of
the sample is measured.

Optical visuality requires distance [] in a haptic

relationship our self rushes up to the surface to
interact with another surface. (Marks, p. xvi)

Seen within the performative idiom, the resulting

data file Untitled_Force is no longer a scientific
representation of blood, but instead becomes
documentation of a specific (moment of) encounter
between my body and the probe of the microscope, in
the space or site of the lab (see photos).

In this context, where technology, art and the

imagination meet real phenomena, the data collected
becomes poetic debris, which can be analyzed and
structured at will.
Untitled_Force #device #sense #extrude
Project Format Theme Action
Elia Vargas* An Ecology of Light Based Art 2016 #methods #outside #bridge
Author Project Year Format Theme Action

*Footnotes by Dorothy Santos

An Ecology of
Light Based Art

Speculating
that signal flow
brings humans
within reach of a
connected greater
creative, empathic,
and healthy state
of being, it is not
a matter of if
but rather how
light based art
brings this to the
surface.
An Ecology of Light Based Art
Project
Giving up on the notion that we can know ourselves,
our boundaries, or our ecologies, I would like to
explore a terrain of thought that projects a new
experience of light based art. That we must look
anywhere at all beyond ourselves, for one, is an
important starting point. There are many different
places one could begin, as a reference point to frame
the conversation: Platos Cave, of course, never
ceases to be a wholly complete allegory to our
world of information, perception, and creation1 ; the
camera obscura 2; the photograph; new landscape
photography; The Situationists International and
Gutai; Jean Paul Sartre; the new forms derived
from new tools as video unshackled cinema; Gene
Youngbloods Expanded Cinema; James Turrell;
Nam Jun Paik and the beginning of Interactive Art;
Ollafur Elliason and the Scandinavian Elemental art,
architecture and design movement; radical geography;
Jorge Luis Borges or Italo Calvino; Buckminster
Fuller; Lewis Thomas microbial gardens or cells
or selves; Guilles Dellus deterritorialized stuffs 3 ;
Manuel de Landas social sedimentary histories
and yet, we might throw it all away.
This essay provokes the boundaries of different
bodies in their analog, digital, cultural, and organic
forms mapping a network topology of ecological
bodies. Light based art in the anthropocene is a
new nervous system for humans to restructure
historical misconceptions of self, society, and linear
relationships between the analog and the digital. What
is information phenomenology? 4
What of the forms to come? The futures? Not the
technologists singularity, the perfect execution of
precision, galvanizing at a point of unquestionable
uncertainty but perhaps? Lets instead grant the
full potential of the emergent spirit. It is a little bit
of magic, of course quite possibly all magic. At
the center of it all is you. Not any actual center, in
fact there is so little of any orientation from which to
actually describe a position that I am fooled into
believing my skin represents the edges of my thought
system is baffling enough5 but to have a starting
point or point of origin amidst a galactic soup of
information, coming in and out of forms, expressing
itself in different ways for indeterminate amounts of
time, this is far too fragmentary to hope for.
We start from everything. This is how we will
begin. From now, looking outwards and backwards.
Fragmentation is so alienating, we are community: a
social fabric, an ecosystem, the mesh, a signal flow.6
Our rituals are carried in our DNA and we taste our
histories in the wind.7
#methods #outside #bridge
Format Theme Action
Signal flow is radical inclusivity of shared matter. We
are the mesh and the new information phenomenology
expresses itself beyond perceived boundaries of our
own bodies, but new neural pathways, water-systems,
optic-fibers, microchips, and sediment connect us
together. Speculating that signal flow brings humans
within reach of a connected greater creative, empathic,
and healthy state of being, it is not a matter of if but
rather how light based art brings this to the surface.8
We see that we know nothing, and we carry on, with
nothing, taking in everything. In fact, our current
extensions of ourselves make that easier for us. New
devices: our pocket brains, which we can write
about with the same fascination and fear that our
predecessors discussed the rotary phone or the radio,
or the television.9 Now it is the Internet, or more
granularly mobile UI, and soon enough it will be
replaced by something else something that delivers
more perceptually rich, immersive, pre-ordained
fact moments describing consensus based truths. Of
course there will be. It is uncanny how the cultural
theorists of the post-modern era (the era of naive
media and post-structuralism) discussed global
networks and nuclear reality with the same literacy
as our contemporaries to consider the complexity
1 Yes. I agree and Ive always relied on this theory to help me better
understand something like epistemology. Then computer science
enters the picture and researchers start showing us that AI has neural
pathways! What tha?! Totally spewing out what is coming to mind. So
do NOT mind me if anything I say is pure shit. Trust me, I feel like you
understand and I dont even know why Im explaining myself right...
2 I cant help but think of surveillance.
3 In grad school, folks LOVED (like me) or HATED D&G (not the fragrance
or brand, but I love referring to them as such, which is completely
ironic considering their capitalism and schizophrenia text). BUT my
favorite aspects of their work were the ideas of striated and smooth
space. Is this what youre referring to here? Or, more war-machine
(totally thinking of Virillio now). But seriously, I actually tried to explain
a conceptual and performance-based artwork by framing it through
the lens of striated (materiality) and smooth (abstract) spaces. THAT
was tough. I did it. But it was tough. I swear, after reading through
D&G, dont you feel like youve done a SHITLOAD of drugs?
4 When I think of phenomenology, I think of the sensual. Can
information be sensual? Perhaps it can be, but its difficult for me to
think of it as tangible only because I feel that information such as data
visualization becomes yet another abstraction of our lives as if to tell
us something new. To remind us that were not alone. But then, what
good can come out of such an experience of information and/or data?
5 Have you read Gayle Solomons work about body auxiliaries? In
any case, Im thinking of that damn Rachel Dolezal case and trans
identities. For some strange reason, two pieces popped in my head,
Freckles by http://jaakko.co.uk/ and Mary Flangans work http://
6
maryflanagan.com/works/
But noise can be the thing that actually forces us to focus on the
signals, yes? Ill tell you this, Ive always been into audio constructs
(i.e., we base behavior and responses to the way things or people
sound). I think I got into this due to my multi- culti background.
7 Lets not forget the stars now.
8 I think of photographer Elizabeth Moran who talks about agential
realism in her work on light and its relationship to photography. Im
being redundant here, but I love the idea of intra-actions. Karen Barad
9
is the genius behind the theory of agential realism.
I keep thinking of Gayle Solomon. And Im ALL about Fox Harrells
work. I think I mentioned him. His notion of cultural phantasms based
off of our ability/inability towards critical computing really defines
a lot of what becomes our, as you put it, extensions (Im not talking
McLuhan either, even though hes dope).
An Ecology of Light Based Art
Project
of the inter-networks of Internet now meaning,
the theorists of the post-human era. And yet, as
the techno-chic moves forward and the style that
describes impatient knowledge, with all its in-vogue
language and phenomenologies10, I can rest assured
that this writing will appear as dusty as the shelves of
the Dewey decimal system. What does timelessness
mean anyway?
If a goal is to say that we know something about how
things are, then lets hope we can say anything at all
without sounding absurd to those who come after
us. And thankfully those who came before us are
not always around to see what weve done with their
thoughts.
Loosely connected stuff that shapes everything:
On Gender
Briefly, a moment on us. Who are we? Bodies Millions of years of sediment, flowing down those
are fluid and identities are self enforced. That is to
say, I say we to mean the sediment from which our
cultural edifice takes shape: the soil, the geologies,
the memes and genes, the cells and data bits, our
antenna: the connected cosmological nervous
system. But not just these bodies are sacred and are
stories. Conforming to the gender identity binary is
to peer no further than the surface.11 Like refusing
that information is exchanged through light waves,
refusing that we are anything other than queer
assemblages of self-representing terrain would be
myopic.12 Signal flow is radical inclusivity. Gender
is fluid terrain. We is a cosmological togetherness,
not a cis-male misrepresentation. Our cyborg state
requires rethinking gender norms. Then again, our
fear of fluidity has always necessitated rethinking
gender.
Ecologies have consciousness, in the sense that science
understands what consciousness is, and that humans
possess it. So does the biosphere. Consciousness is not
only for the humans. As everything is torn away, why
would we stop at gender? If my body is a microbial
garden, shaped by water flow and serpentine past
what then? The Internet is a platform for catalyzing
thought; memes proliferate, and drift in more complex
thought arrangements. Consciousness is not only for
humans.13 It emerges from a matrix of forces, feedback
loops, and histories. But then, we are afraid of that
word matrix, so instead the mesh. The mesh is
consciousness, not a form of consciousness, not a bigger
consciousness, the consciousness. The consciousness
that I am, that we are. We are it.
It feels some how dulled out now, that we would even
need to explain queer body identities.14 What with the
#methods #outside #bridge
Format Theme Action
radical bodies taking shape and falling all around us,
why would gender be any different?
On Water
These pathways carry the source. Sediment is
information. Elemental material provides instructions
for the riparian zones along the way. Imagine the
new streamlets at 14,000 feet in altitude each spring.
Ice melts, new neural pathways drip their way down,
as they journey to the sea. There are fewer now,
in California, as drought defines the new normal.
Along the way, growth proliferates, soils fuse, and
sediment is compacted. Under great pressure, this is
the birth of our great fossil fuels. To think, the entire
edifice of modern civilization is shaped by the same
information flow that produces a flower. Serpentine
is the California state rock. Entire plant communities
have adapted to serpentine soils. Soil is primarily rock
after all. Consider all that information, all that time.
novel streamlets each spring. These too are sacred
and are stories pockets of history redistributing
themselves in a closed loop all along the signal flow.15
Importantly though, it is not just along the streams
path, but in the clouds too. It is all around us.
On Desktop Phenomenology
What is the difference between how a PDF and
Word document make us feel? What I really mean
here is: the phenomenology of information. Desktop
phenomenology is a part of the signal flow, in any case.
When the clouds rain it down, they are spreading that
flow a decentralized redistribution of information.
10 Im dying to hear what you think of Ex Machina.
11 You should read Gayle Solomons work. She pulls a lot of stuff from
psychoanalytic theory and Merleau-Ponty to discuss the transgender
body and the ability to be fluid. Seeing a felt sense/self and how we
work with our bodies (that are actually malleable). You would enjoy
what she has to say about body auxiliaries, which is something she
pulls from MP.
12 AND Karen Barad (who is at UC Santa Cruz) and her idea of
agential realism. The wiki entry is pretty decent, but my homegirl
in grad school discusses extensively in her thesis in relationship
to photography (and her MFA thesis, which was on ghost hunting
and paranormal photography). My point: this entry, in particular,
reminded me of something similar that Barad is getting at when she
mentions that things come into being based on intra-actions. Also,
heres the wiki, which is decent for Karen Barad..
13 Its also a place to dismantle harmful mythologies. I think this is why
Im particularly interested in new media/transmedia and digital artists
working to reveal marginalized bodies through the use of technology.
Its almost as if people will only pay attention if it comes from the
internet, some mobile device, or some mediated form. I WAS just sent
a BBC Future article about people being possessed by computers. We
should discuss!
14 If anything, this act of explaining queer body identities seems
necessary. All the more necessary especially with advancements in
technology that already seem to not only monitor behavior, but have
biases built into them. The work of Zach Blas comes to mind when
thinking about how we begin to look at and examine how technology
affects these identifications. Another theorist that comes to mind is
Sarah Ahmed and her idea of strang-ing/queering the body.
15 Ana Mendieta. Ana Mendieta. Did I say Ana Mendieta? I did. Talk about
redistribution into the signal flow!
An Ecology of Light Based Art
Project
Those elements grow the rare earth, the metals; they
are synthesized to shape properties like plastics. In
this way and in others the signal flow is connected,
not only by elemental force, but also by organization
strategies. Screen space is the phenomenological
output of commands much like agency as our body-
organisms instruct our brain-awareness. One way to
imagine this is: if we give a command to a computer,
the computer will execute that command internally,
regardless if we see on the screen that it is doing so,
presuming the computer is working properly, etc. The
screen acts more as a comfort buffer. Our bodies are
similar. I dont need real time confirmation that my
heart is beating to know that it is doing so. The fact
that I am alive is sufficient assurance, presuming that
the body is working properly, etc.
The screen is a comfort buffer then, nothing more,
despite the galaxy of activities, the distances, the
networks, or the connections, that the computer is
processing.16 Like any comfort buffer it causes us to
feel, and the ways we feel are shaped by the nuanced
relationships we each uniquely build. Like a rock
one finds during a childhood walk with a distant
friend, the power of this object is greater than another
rock, regardless of physical similarity. Likewise, a
particular habit, or frequency of use, might bias one
object over another.
PDFs and Word documents are no different. Like
texts or email, cable television versus Netflix, mobile
devices, and the future mediated technologies, these
comfort buffers cause different emotional outputs
in us; because we use them differently, they arrive
in different moments of our lives, for different
functions. Work versus leisure, for example, as tools
to disseminate information and proliferate horizontal
access, as opposed to passive entertainment. Within
us, we react differently to these circumstances, all of
which arrive from the simple rectangular, pixilated
comfort buffer. One simple command leads to a
cosmology of other organizational strategies.
On Scale
Network topologies are different scales of connectivity.
Signal flow is radical inclusivity because information
phenomenology expresses itself as a healthy ecology in
all forms. That is to say, no comfort buffer is required
to proclaim health, if a city, or a cell, are functioning
healthily. Instead that health is reflected in a well
balanced, well distributed, diverse and dynamic
exchange of information like equal racial, ethnic,
gender, and class distribution of access to resources. A
certain microchip, Intels 2006 Montecito chip, was
designed to reflect a strategy of organizing information
at a certain efficiency that some urban planers have
#methods #outside #bridge
Format Theme Action
considered using to design civic infrastructure. Fungus
represents another interesting representation of
decentralized connectivity. By some accounts, as much
as 90% of the earths root systems are inhabited by
symbiotic mycorrhizal fungi. The exact function these
fungi play in the rhizome is quite simple. It increases
water absorbing surface area in root systems and in
turn extracts needed nutrients, the roots absorbed from
the air: carbon, vitamin D, etc. This is a strange signal
flow indeed, and entirely interdependent.
If more comfort buffers are required, consider this:
fungi are a perfect expression of the mood of an
ecosystem. In fact, nothing more perfectly describes
the state of a microclimate than a fruiting mushroom
body. It is exactly a result of the nutrients, temperature,
atmosphere, conditions of the rhizome, location and
arboreal representation. All these inputs, outputs,
and stochastic systems work in concert to shape the
mushroom. They are the mushroom. There is no
distinction between the way it appears and the way it
came into being. Likewise, our cities, our networked
systems, ourselves, are the output of great forces
constantly in motion. Recognizing the most empathic,
most dynamic, most diverse, most creative ecologies
might be a valuable exercise in the anthropocene. This
might be possible through observing the acoustic
ecologies of complex ecosystems. For example, in
habitats that have molded to their own signal-flow over
millions of years of simultaneous exchange. Humans
always want the most, but what does that mean
exactly? More importantly, do we actually know what
we need the most of?17
On Projection
After a meandering path through sediment, soil,
scale, and flow, weve arrived at the source. We
could not arrive at an ecology of light based art
without exploring the entire organism and sometimes
this requires unexpected deviations. Unexpected
until now by this point, it should be clear that
information travels a complex path. This energy is
represented efficiently in many organic forms fungi
for example, and not efficiently in some human forms,
i.e. the processing of fossil fuels. Our task in the
anthropocene is to use light based art to illustrate the
full scope of the energy signal flow.
Etymology: projection
Latin proicio (From pr (from, in the place of; for)
+ iaci (throw, hurl).)
16 What about the disabled body? The body that cannot see.
How would one grapple with the notion of desktop phenomenology
in cases such as this?
17 Time and space. Humans always want to control them.
An Ecology of Light Based Art
Project
Our state of visual awareness is informed by the
semiotics of our daily lives. We organize information
because we understand the signs around us and
build on them. Whether we are conscious of it or
not, this is the impact of cultural space. Projection
art, in other words the projection of meaningful
information, proposes alternatives to the terrain
surrounding us. At present culture is negotiating a
transition from understanding physical space and
digital space as different paradigms to seeing them
as a fluid geography within which the distinction
between the two is only the difference between two
separate objects, like a bench and a glass. In this sense,
projection is energy flow.
It is natural enough to see light as energy. It comes
from the sun, a near infinitely more powerful
generator than any we will see on this planet. Light
also comes from electricity we flip a switch and it
illuminates a room. In both cases, light is the physical
manifestation of an energy flow. Often, however,
when utilizing light as a mechanism of delivery, of
culturally understood information representational
symbols and codes lets say language, we dont see
the energy, instead we see a readable text. One might
say then, that energy is the subtext of projection.18
Bear this in mind, as the scaffolding for my premise,
because energy itself has a number of abstract
components also that are the result of reading the text
too directly and forgoing the subtext. I began with the
word information and subtly shifted the discussion
to energy. Projection art as a tool helps sort out the
ways in which culture anthropomorphizes itself
unconsciously. There are two different interpretations of
energy in projection: the energy required to power the
light source that delivers the coded symbols or images,
and the light particles themselves that are literally
projected to another landscape. What else is projection,
other than flinging information into space?19
My focus on energy is of the second interpretation.
I bring up the first simply to ensure a fully formed
understanding of energy in this context. Culturally
we are not very rigorous about our definition of
energy, which leaves the possibility for many pitfalls,
misunderstandings, and misrepresentations. As we
excavate an understanding of this second interpretation,
it may inform the first. Light particles are the subtext
of projection, the medium of delivery. The light is an
energy flow, transported from one location to another,
from a digital space to a physical space.
What is the information? With the advent of machine
intelligence and automated networks, we are reshaping
our understanding of information from something
that we can read, to a readable transaction. In other
#methods #outside #bridge
Format Theme Action
words, a transaction that we cannot, necessarily,
read. Something can read it perhaps, but not us, not
a human. What else would that be? Everything: the
mitochondria in our bodies, the genetic code of fungi,
computers built to interpret financial algorhythms,
genetic therapy that occurs in milking mammals,
Google Adsense. Each of these readers interprets
a set of information, essentially series of values and
symbols, that are unreadable to us and possibly
arrives via a mechanism that does not even resemble
information in a form we recognize.
Consider light in this way. Light is energy, but
what does that mean? Light particles are different
wavelengths that are described by sets of information.
The information determines the type, temperature,
range of light, etc. In essence, different readers
interpret the light wave information and react
accordingly. In the 1990s, CD players interpreted light
information to play music. Our eyes interpret light
information as a readable canvas, our iris physically
changing to compensate for different exposures. Our
skin cells interpret light information to protect our
bodies, and changes color and sometimes texture
in reaction. In each case, the reader responds to the
specific code carried in the light energy.20
Projection art offers much more information in this
case than what we perceive. The content the subject
matter understood in a cultural context is only part
of the information signal flow. Behind the content,
shaping the form the medium takes, is the coded
information that transports the energy and informs the
readers how to interpret it. The light information is
a physical set of instructions that illuminates a set of
digital instructions (the code of the content). Certainly
not all projection art is digital, but focusing on digital
content reveals the fluid transcendence between digital
and physical spaces.
As has been discussed, projection is a complex form
of information exchange. It is not often that we
are able to perceive a signal flow in physical space
that is not physically connected. At least, not with
18 But will it be natural to see projection mapping in the next 20 years?
Probably. It makes me wonder how human vision and perception
will change. Will holograms become so commonplace that they then
become a part of what natural light means in the future. This has me
thinking of the term natural and can it really be said that it even exists
anymore. Humans are subject to so much un-natural light that it has
almost become expected to see under fluorescent or Tungsten.
19 I started to think about smoke signals for some strange reason and
this idea of ancestral futurism and how we are just inventing things
that have always been around. But technology advances so rapidly
that we dont experience and relish the change (much like the Midi
disk). Theres such an ebb and flow, projection as a thing in space also
depends on the space and who is perceiving the projection.
20 Reminds me of some Oliver Sacks I read during grad school.
An Ecology of Light Based Art
Project
such a direct translation; wireless internet links a
great deal of information to physical spaces, but it
is not always clear where the information is coming
from, or which bits of information in physical space
correspond to which bits of data in digital space. For
example, if I put my hands next to a wireless router
and draw a square in the air, it is impossible to know
if or what data that square of space corresponds to in
my computer. Projection on the other hand provides
a point of origin in which the same information at
one point is represented at another point. There is no
physical connection that we can perceive and we can
visually understand the trajectory of the signal flow.21
But there is a physical connection a connection
that requires we shift our paradigm of perception in
the physical world. We cannot read the information
exchange that illuminates the pixels and describes the
compression, resolution, bit depth, and media type in a
projection. That is the subtext. We read the culturally
contextualized symbols represented on the projection.
The subtext, however, is a physical connection. The
information that we cannot read, the light, creates
a physical connection. I dont mean that light as a
phenomenon links two bodies; the information that
the light carries, the instructions, are a pathway that
builds a connection. In the most material sense, the
information are physical events that communicate
orders and causally change a body.
The implications of projection art are exciting.
Binding the physical and digital terrains in
perceivable ways forms new bodies, a body whose
signal flow transcends the boundaries of our cultural
interpretations as though I were to perceive directly
the impact a thought made on the flap of a butterflys
wings. Or the impact a computer processor has on my
mental state, regarding a specific thing. Projection art
reveals new limits to the geographies of bodies.
As discussed earlier, we are all landscapes. We are
inhabited territory colonized by different narratives
and histories. Our identities are largely formed
by the exploration of our terrain. For better and
worse we have conquered much of it. It is with a
sense of entitlement that we have laid borders and
boundaries around everything: political boundaries,
emotional boundaries, physical boundaries, biological
boundaries, cognitive boundaries, and more. With
a sense of innate purpose we have explored the
physical terrain, we have overwhelmed and redefined
it. Projection art proposes new forms. It alters the
terrain and thus creates new territory. Reshaping our
identities in the process. The terrain has always been
temporary and ineffable. These are simply new tools
for excavation.
#methods #outside #bridge
Format Theme Action
The text of a projection is not quite the same on its
projected surface as it is at its origin. The text binds
itself to its surface, changing it. The subtext the
information is the same, but the meaning changes as
it creates a new landscape. The parameters between
the digital and physical might feel distinct at the
current moment. The physical visual experience
of a projected space might not feel as though it fully
integrates the digital and physical. After all, there
are tasteless boundaries, the edges of projection that
remind us how we so frequently use our digital tools
like windows, only peering through them in rectangles
instead of fully entering or expanding them. That is not
to say the digital alone represents more expansive space.
Projection reminds us that signal flow is physical. The
same text and subtext of content and information are
being exchanged amidst a vast ecology of physical
events: biological chemicals, neural transmissions,
waterways, sediment, and more. The landscape that
reveals the projection, the surface onto which is
projected, receives the subtext too. That is to say, it
is changed, physically. It is hard to intuit what the
subtext might do to the surface; an emergent event
catalyzes, much the same as the visual experience of
projection reshapes a way of looking in a space.
We must use our imagination and project to the extent
now capable. Light is not bound by dimensionality or
shape. New integrations with the physical landscape
require experimentation and shedding our previous
conventions. The framework of projection does not
resemble old notions of viewing. We are as much
amidst the viewing landscape, simultaneously separate
observers and integrated participants, as we are
privileged to watch from afar. As though the signal
flow was ever separate, true though past modes of
viewing made distinctions.
To an unknown extent we are shackled by old modes
of viewing. Much of our visual world is constructed
of signifiers using a linear system of semiotics. The
landscape itself has not changed, in so far as it ever
was static, but the visual tools we use to build meaning
still rely on an infrastructure of past paradigms. There
is a certain utility to viewing material behind a digital
rectangle, but a canvas need not be limited in such a way.
Projection-mapping does engage physical space as
a canvas with more nuance, but generally it is an
attempt towards the hyperreal. It is a simulacrum.
Instead of imagining new forms, projection-mapping
displays like a master cartographers skill and
21 Beg to differ, especially if we start to look at the
possibilities of third space.
An Ecology of Light Based Art #methods #outside #bridge
Project Format Theme Action

grace. The result is often pleasing; it maps terrain

with detailed affection, yet it tells us nothing that
the landscape itself could not already offer. Only in
radical geographies do new forms emerge.22

Projection art must be more rigorous. The artist

must look to the subtext to illuminate new signal
flow. New modes of viewing replace reflexivity with
parallel bodies amidst a feedback loop. The terrain is
informed by the interaction of the physical and digital
as it crystallizes into something else. More than
simulacrum, it is a new body.

The physical and digital dialectic no longer feels

sufficient. Rather than binary, it is analog a
gradation of spaces at once digital and physical. Being
bound by our old viewing paradigm, we dont yet
understand what the gradation is; we cant viscerally
experience a fabric of physical and digital simultaneity.
No more than we can viscerally experience the
simultaneity of our environment. But projection
art aids in our process of discovery. It provides a
framework for new modes of viewing. It reveals a
signal flow for the texts and subtexts of new identities.

On and On
We were here before we were here, and we will last
so much longer than we could have ever imagined.
This essay set out to organize thoughts in a way
that suggests the simultaneous signal flow shaping
our ecological phenomenology. It is speculative and
it drifts, in an aim to resemble the rhizomes and
clusters everywhere. It ascribes great importance
to light as the vessel of information. Light art in
the anthropocene has the power to shift human
perception of ecological identities. Humanness is a
history of narratives and identities a landscape of
interpretations that we give to ourselves, that change
over time and in result of dominant power structures.
We are an invention of our own making. Who we are
depends on who we intend to be and who perceives
us. We change depending on the room we are in and
the time of day. Each and every part of our lived
experience comes at us with the history of time
tumbling behind it every object, every idea, every
circuit, every drop of water, a living signal flow of
information.23

22 Radical geography entails the use of unorthodox and unconventional

ways of mapping and organizing space. It also reminds me of the
visibility of forgotten and obscured narratives.
23 Its rather extraordinary to think that we are made out of the same
atomic and molecular material as light, but just organized differently.
The Mighty Kongbot Inc. Anti-Anthropocalyptic Set 2016 #toolkit #futures #remesh
(Dom Barra & Luigi Console) Project Year Format Theme Action
Author
Three tools for surviving
apocalyptic scenarios

Anti-
Anthropocalyptic
Set

The Mighty Kongbot Inc. set for surviving the Anthropocene is a kit you can 3D print at home and that can help
you survive apocalyptic scenarios. It is very handy and will help you to save your own life, the love of your life, and
the lives of those dear to you. The Solar System is disintegrating, the Earth is drying out and the poles are melting.
The human mind is poisoned as much as the water we drink, the food we eat, the air we breathe, the soil we work
and walk. Make up your mind quickly, time is running out. So, let us introduce the Anti-Anthropocalyptic Set.
Anti-Anthropocalyptic Set #toolkit #futures #remesh
Project Format Theme Action

1) Anti-Beheading Collar:
When in war you dont need to get crazy from the fear to lose your head.
People are going mental; stupidly dangerous. Recent studies prove that
blades such as knives, swords, katanas and machetes are available
everywhere, you can find a knife even in your own kitchen: you could be
killed with your own blade! We say Fuck that! If either a terrorist or your
neighbors or your friends or relatives are plotting against you, you need to
have your head on your neck to fight back. So, before a maniac turns you into
a war-crime/hunting trophy, print the Anti-Beheading Collar and put it around
your familys necks. Be the hero to your kids, be a prince to your spouse.
Anti-Anthropocalyptic Set #toolkit #futures #remesh
Project Format Theme Action

2) Anti-Asteroids and Space Waste Helmet:

Do you think that what we put in space is going to be there forever? Do you
think before the solar system starts to crumble and fall from the sky heaven
is going to WhatsApp you and say hey mate, take care of yourself and your
family. Its going to fall space trash and stones in a bit.... Do you believe it
is going to be like that? Probably you do, but we dont so trust us, believe in
us. Recent studies have proved that things are bad, so bad that you cant
handle such badness and we did it for you. You know what it feels like to
be hit on the head while you are shopping in the vicinity of a satellite? No,
you dont. You know what it feels like to picnic with your family and suddenly
your kids get hit on the head by a plummeting asteroid? No, you dont, and
how could you? The end of the world is not here yet, but your defense is.
This tool will save your shopping, this tool will save your picnic. Your family
will love you forever. And there is more. You probably wish to check your
Facebook updates for a last time, WhatsApp your work mates and wish them
a good end, tweet all of the steps of your great escape, or put on Instagram a
divine selfie of you saving your life and family so, we included a smartphone
holder in this helmet where you can stick your priceless device so that you
know where your dear phone is all of the time. We know that you care about
your smartphone as much as you care about your head, your iPhone is the
extension of your mind so we made this brilliant combination just for you,
thanks us later, go to print it.
Anti-Anthropocalyptic Set #toolkit #futures #remesh
Project Format Theme Action

3) Anti-Earthquake Shield:
Under our feet there is a bomb. Not asphalt, nor grass but pure explosive.
Any time this bomb can detonate itself, the soil under our feet will crumble
like cookie dough making the world above our heads fall like deadly rain.
Balconies, windows and window glass, flower pots, air conditioners, hot water
heaters, staircases, elevators, TV antenna, rubbish and human corpses,
everything will turn into a cannon ball shot at you from the gravity army. You
will be buried under tons of sh!t and die, all of your family dead and buried
under tons of human sh!t. If that sounds like sh!t, its time to be more fond
of your life and that of your family and get ready to protect them because
when that bomb explodes your future and that of your family will only depend
on you, and only you can be the man or woman of the hour. The shield
will protect you from being hit in the stomach, legs, arms, back during your
escape towards a new life while the whole world falls into pieces at your feet.
Anti-Anthropocalyptic Set #toolkit #futures #remesh
Project Format Theme Action

Events like these can happen all at the same time, so we

advise you to print our tools as soon as you can, one for
each member of your family. Use this kit according to the
most urgent necessity and you may just manage to survive
the Anthropocalypse.

Your fellow humans have brought these disasters upon

you with their aimless enjoyments and mindless behaviors.
Be as cold blooded as they were and think for yourself.

You are the super human with the Mighty Kongbot Inc.
Anti-Anthropocalypse Set!

3D print your instruments of almightiness!

Never give up! Never stop dreaming! Even during the

Anthropocene!

Salute from the Mighty Kongbot Inc.

Overview Tags

Tag Index
Format Theme Action
#blueprint #alchemy #break
#device #beyond #bridge
#fabulation #figures #collapse
#methods #futures #collide
#recipe #kipple #constrain
#toolkit #matter #deface
#outside #detach
#play #extract
#postnature #extrude
#resistance #morph
#sense #remesh
#replace
#smooth
Format Format Format
Index Index Index

Format
Detournement of the Body Women of Medri Bahri
(Prototype Crapject Body); Shushan Tesfuzigta
Salvatore Iaconesis Glioma (relic)
Patrick Lichty Catalogo de Produccin de
#blueprint Naves Author Hidrodinamicas
BLOOD BATHTM / Hydrodynamic Vessels
Virtual Drag Symrin Chawla Production Catalog
Alison Bennett, Megan Beckwith Sofia Crdova
and Mark Payne, featuring Jacki Snowden Crown Jewels
Hammer Zack Rispoli Collapse
Sophie Hoyle
Fundament(al) 3D Printer #fabulation
Chris Coleman Global Reconstruction of
The TurtleBag Artifacts and Bygones (G.R.A.B.)
Anatomy of a Cyborg 3D Printer Antonio Esparza Tom Burtonwood
Laura Devendorf
Pests in the Ontological Mesh GT-200
Synthetic Hormonal History Map Brittany Ransom Urs Guadenz
Ryan Hammond
Plastic/Ocean/Desert/Sky W.Afate 3D Printer to Mars
Monomateriality Fahmy Shahin Woelab-Lom
Vimal Patel
Minusplusplus #methods
#device Henrik Nieratschker
#Additivism Against Tln/Time
3D Print Simulator The Evolution of the Spermalege Travel by Methods of Magick
Alan Warburton Joey Holder Adam Rothstein

Bouequet, Stealth Poetry The Fellatio Modification Project DIY / DIWO Transgressive
Module 02 Kuang-Yi Ku Abortive Methods: A Q&A
Amy Ireland Between BDTWW & MC
INSTAR III : Excerpts from the GP Anonymous, Emilia Yang and
USOA 1.0 Chronicles of Scion Uma Oickle Biayna Bogosian
(Ultimate Software Open Animal) Katie Kaulbach and
ARTEKLAB Timothy Weaver Cheat Sheet for a Non (Or Less)
Colonialist Speculative Design
Synapse What We Know About Every;thing A Parede Curatorial Statement
Behnaz Farahi Mandi Goodier (Luiza Prado and Pedro Oliveira)

Purple Flowered African Violet The Universal Addressability The Electric Deep: Dream
Darlene Farris-LaBar of Dumb Things Visions of the Additive Machine
Mark Leckey Dr. Anna Greenspan and
Shiv Integer Dr. Suzanne Livingston
Julien Deswaef and Matthew Universal Enzyme
Plummer Fernandez Nadav Assor Surface Breeding
Beln Zahera
Untitled_Force Reconfigured Crevices:
Katy Connor An Habitual Interruption 3D Printing: Technosalvationists
Nano Entity Collective Latest Lovechild
KAURI Ben Valentine
Geraldine Jurez Notes on the Species Diversity
of Artificial Objects A Cautionary Note on Pursuing
Raflesia Nicholas OBrien 3D Printing as a Hobby
Lo Sexer Catherine Scott
The Mill Chaffer OPrint Heed
The Ring Norman Hogg The Honesty of Extrusion
Lishan Amde Catherine Scott
DIY NanoSatellites Project
Compost Juice Head Still Patrick Romeo
Nano Entity
Format Format Format
Index Index Index

Resolution, Reification, What Happened to the Meshbombing

Resistance: A Conversation
with Claudia Hart
Claudia Hart
New Skins: From Fake Flesh to
Programmable Prosthetics
Corinna Kirsh and Dylan Schenker
Becoming Horror in The Plasticene
Daniel Rourke
Readymake: Duchamp Chess
Pieces?
Scott Kildall and Bryan Cera
An Archaeology of #Additivism
Sha Hwang and Gaia Scagnettit
Writing the Post-Toupe:
3D #Additivism as Provocation
Simon Clark
Jason Ferguson
Desktop Recycling:
3D Printing as Closed Loop
Keeley Haftner
Desire Grammar Totem
Kanyaphorn Kaewprasert and
Kornkamon Kaewprasert with
Gaia Scagnetti (contributor)

An Ecology of Light Based Art Speculative Prototyping: URME Recipes:

Elia Vargas (with footnotes by
Dorothy Santos)
Stones of Their own Kind
Emma McCormick-Goodhart
Making Plastic Printing Cooking with Privilege
Sustainable and Playful Leo Selvaggio
The Speculative Prototyping Lab,
University of California, Irvine Deceleration Recipe
(Jesse Jackson) Lucas Odahara

Design by Disruption Vampyroteuthian Art Echoes of Earth:

Everardo Reyes-Garcia Vilm Flusser The Rocks of Us
Marija Bozinovska Jones
BioHack is Black #recipe and IYDES
Fannie Sosa
Perception Print Green
What Would an Additivist Andrew Blanton Print Green
Literature be?
Germn Sierra Occupy Gramercy How Not to be Read
Anonymous (a Recipe Using DCT)
The Domestication of Plastic Rosa Menkman
Heather Davis Adding to Subtract:
3D Printer Recipes to Disrupt Fall Recipe
New Blood: The 21st Century Our Desire for More Shane Mecklenburger
Manifesto Benjamin Grosser
Julian Hanna On Preserving Glitch
#HeLadditivism Sophie Kahn
Future Reliquaries: Outposts Carl Gent
Kayla Anderson Peaceful Warrior
Stitch for Senate Tabita Rezaire
Liberator Variations Cat Mazza
Kyle McDonald Open Source Clay Printing
Biointelligent Membranes Tom Lauerman
Print_Music Cathrine Disney
Matthew Hollings #toolkit
The Unprintables
Material Speculation: ISIS Daniel Temkin Breaking Down the Walls Within
Morehshin and Allahyari and Paul Anonymous
Soulellis How to Mine for Space Geodes
Debbie Ding Pistil
NefertitiHack Anonymous
Nora Al-Badri and Jan Nikolai Souvenirs (Corcovado)
Nelles Gabriel Menotti Man Made
Ami Drach (1963-2012) and Dov
THX.OBJ Spare Parts: Religious Ganchrow
Nora O Murch and Hua Shu Iconophilia and 3D Replication
Gabriel Menotti The Pig Function Toolkit
The Perspective of Print Body & SWINE
Patrick Whitmarsh The Official Byononymous
Guidebook
Heather Dewey-Hagborg
Format/Theme Theme
Index
Subalternate Realities
Browntourage Curatorial Statement
(Hawa Arsala and Tonia Beglari)
Marias Clandestinas
Emilia Yang and Biayna Bogosian
Free Universal Construction Kit
Golan Levin and Shawn Sims
The Webcamera Obscura
Jasper Meiners and Isabel Paehr
Did Andy Like Anchovies?
Michelle Kasperzak
Combo Breaker
Samy Kamkar
Chess with Mustaches
Scott Kildall and Bryan Cera
Anti-Anthropocalyptic Set
The Mighty Kongbot Inc.
(Dom Barra & Luigi Console)
Theme
#alchemy
#Additivism Against Tln/Time
Travel by Methods of Magick
Adam Rothstein
Design by Disruption
Everardo Reyes-Garcia
What Would an Additivist
Literature be?
Germn Sierra Ganchrow
Deceleration Recipe
Lucas Odahara
Compost Juice Head Still
Nano Entity
Peaceful Warrior
Tabita Rezaire
#beyond
Virtual Drag
Alison Bennett, Megan Beckwith
and Mark Payne, featuring Jacki
Hammer
Theme
Index Index
The Unprintables What We Know About
Daniel Temkin Every;thing
Mandi Goodier
KAURI
Geraldine Jurez Universal Enzyme
Nadav Assor
On Preserving Glitch
Sophie Kahn Reconfigured Crevices:
An Habitual Interruption
#figures Nano Entity Collective
BioHack is Black Notes on the Species Diversity
Fannie Sosa of Artificial Objects
Nicholas OBrien
Souvenirs (Corcovado)
Gabriel Menotti The Mill Chaffer OPrint Heed
Norman Hogg
Spare Parts: Religious
Iconophilia and 3D Replication Women of Medri Bahri
Gabriel Menotti Shushan Tesfuzigta
Minusplusplus Anti-Anthropocalyptic Set
Henrik Nieratschker The Mighty Kongbot Inc.
(Dom Barra & Luigi Console)
Anatomy of a Cyborg 3D Printer
Laura Devendorf Artifacts and Bygones (G.R.A.B.)
Tom Burtonwood
URME Recipes:
Cooking with Privilege #kipple
Leo Selvaggio
The Domestication of Plastic
The Ring Heather Davis
Lishan Amde
Shiv Integer
Material Speculation: ISIS Julien Deswaef and Matthew
Morehshin and Allahyari and Plummer Fernandez
Paul Soulellis
Desktop Recycling:
#futures 3D Printing as Closed Loop
Keeley Haftner
Man Made
Ami Drach (1963-2012) and Dov Liberator Variations
Kyle McDonald
The Electric Deep: Dream THX.OBJ
Visions of the Additive Machine Nora O Murch and Hua Shu
Dr. Anna Greenspan and
Dr. Suzanne Livingston The Perspective of Print
Patrick Whitmarsh
New Skins: From Fake Flesh
to Programmable Prosthetics W.Afate 3D Printer to Mars
Corinna Kirsh and Dylan Schenker Woelab-Lom
How to Mine for Space Geodes Snowden Crown Jewels
Debbie Ding Zack Rispoli
INSTAR III : Excerpts from the GP #matter
Chronicles of Scion Uma Oickle
Katie Kaulbach and 3D Print Simulator
Timothy Weaver Alan Warburton
Theme Theme
Index Index
The Honesty of Extrusion A Cautionary Note on Pursuing
Catherine Scott 3D Printing as a Hobby
Catherine Scott
Echoes of Earth:
The Rocks of Us Free Universal Construction Kit
Marija Bozinovska Jones Golan Levin and Shawn Sims
and IYDES
Meshbombing
Print Green Jason Ferguson
Print Green
Desire Grammar Totem
Becoming Horror in The Plasticene Kanyaphorn Kaewprasert and
Daniel Rourke Kornkamon Kaewprasert with
Gaia Scagnetti (contributor)
Collapse
Sophie Hoyle The Universal Addressability
of Dumb Things
Open Source Clay Printing Mark Leckey
Tom Lauerman
Did Andy Like Anchovies?
Monomateriality Michelle Kasperzak
Vimal Patel
Chess with Mustaches
#outside Scott Kildall and Bryan Cera
Cheat Sheet for a Non (Or Less) What Happened to the
Colonialist Speculative Design Readymake: Duchamp Chess
A Parede Curatorial Statement Pieces?
(Luiza Prado and Pedro Oliveira) Scott Kildall and Bryan Cera
An Ecology of Light Based Art An Archaeology of #Additivism
Elia Vargas (with footnotes by Sha Hwang and Gaia Scagnettit
Dorothy Santos)
Writing the Post-Toupe:
Plastic/Ocean/Desert/Sky 3D #Additivism as Provocation
Fahmy Shahin Simon Clark
New Blood: The 21st Century Speculative Prototyping:
Manifesto Making Plastic Printing
Julian Hanna Sustainable and Playful
The Speculative Prototyping Lab,
The Fellatio Modification Project University of California, Irvine
Kuang-Yi Ku (Jesse Jackson)
DIY NanoSatellites Project #postnature
Patrick Romeo
The TurtleBag
Catalogo de Produccin de Antonio Esparza
Naves Author Hidrodinamicas
/ Hydrodynamic Vessels USOA 1.0
Production Catalog (Ultimate Software Open Animal)
Sofia Crdova ARTEKLAB
#play The Pig Function Toolkit
Body & SWINE
Surface Breeding
Beln Zahera Pests in the Ontological Mesh
Brittany Ransom
Theme
Index
#HeLadditivism
Carl Gent
Biointelligent Membranes
Cathrine Disney
Fundament(al) 3D Printer
Chris Coleman
Purple Flowered African Violet
Darlene Farris-LaBar
Stones of Their own Kind
Emma McCormick-Goodhart
The Official Byononymous
Guidebook
Heather Dewey-Hagborg
The Evolution of the Spermalege
Joey Holder
Future Reliquaries: Outposts
Kayla Anderson
Vampyroteuthian Art
Vilm Flusser
#resistance
Breaking Down the Walls Within
Anonymous
DIY / DIWO Transgressive
Abortive Methods: A Q&A
Between BDTWW & MC
Anonymous, Emilia Yang and
Biayna Bogosian
Occupy Gramercy
Anonymous
Pistil
Anonymous
Adding to Subtract:
3D Printer Recipes to Disrupt
Our Desire for More
Benjamin Grosser
3D Printing: Technosalvationists
Latest Lovechild
Ben Valentine
Subalternate Realities
Browntourage Curatorial Statement
(Hawa Arsala and Tonia Beglari)
Stitch for Senate
Cat Mazza
Theme Action Action
Index Index Index

Action
Resolution, Reification, An Ecology of Light Based Art
Resistance: A Conversation Elia Vargas (with footnotes by
with Claudia Hart Dorothy Santos)
Claudia Hart
#break Marias Clandestinas
Marias Clandestinas Emilia Yang and Biayna Bogosian
Emilia Yang and Biayna Bogosian Occupy Gramercy
Anonymous BioHack is Black
The Webcamera Obscura Fannie Sosa
Jasper Meiners and Isabel Paehr Resolution, Reification,
Resistance: A Conversation Free Universal Construction Kit
Raflesia with Claudia Hart Golan Levin and Shawn Sims
Lo Sexer Claudia Hart
The Evolution of the Spermalege
NefertitiHack The Unprintables Joey Holder
Nora Al-Badri and Jan Nikolai Daniel Temkin
Nelles Writing the Post-Toupe:
Universal Enzyme 3D #Additivism as Provocation
Synthetic Hormonal History Map Nadav Assor Simon Clark
Ryan Hammond
NefertitiHack #collapse
Combo Breaker Nora Al-Badri and Jan Nikolai
Samy Kamkar Nelles 3D Printing: Technosalvationists
Latest Lovechild
Fall Recipe How Not to be Read Ben Valentine
Shane Mecklenburger (a Recipe Using DCT)
Rosa Menkman Design by Disruption
#sense Everardo Reyes-Garcia
Combo Breaker
Bouequet, Stealth Poetry Samy Kamkar Plastic/Ocean/Desert/Sky
Module 02 Fahmy Shahin
Amy Ireland #bridge
Future Reliquaries: Outposts
Perception 3D Print Simulator Kayla Anderson
Andrew Blanton Alan Warburton
Desktop Recycling:
Synapse Virtual Drag 3D Printing as Closed Loop
Behnaz Farahi Alison Bennett, Megan Beckwith Keeley Haftner
and Mark Payne, featuring Jacki
Untitled_Force Hammer Collapse
Katy Connor Sophie Hoyle
Breaking Down the Walls Within
Print_Music Anonymous #collide
Matthew Hollings
DIY / DIWO Transgressive #Additivism Against Tln/Time
How Not to be Read Abortive Methods: A Q&A Travel by Methods of Magick
(a Recipe Using DCT) Between BDTWW & MC Adam Rothstein
Rosa Menkman Anonymous, Emilia Yang and
Biayna Bogosian Man Made
BLOOD BATHTM Ami Drach (1963-2012) and Dov
Symrin Chawla Subalternate Realities Ganchrow
Browntourage Curatorial Statement
GT-200 (Hawa Arsala and Tonia Beglari) Pests in the Ontological Mesh
Urs Guadenz Brittany Ransom
Stitch for Senate
Cat Mazza Spare Parts: Religious
Iconophilia and 3D Replication
Synapse Gabriel Menotti
Behnaz Farahi
Action Action Action
Index Index Index

Raflesia Notes on the Species Diversity Open Source Clay Printing

Lo Sexer of Artificial Objects Tom Lauerman
Nicholas OBrien
Compost Juice Head Still W.Afate 3D Printer to Mars
Nano Entity The Mill Chaffer OPrint Heed Woelab-Lom
Norman Hogg
THX.OBJ #morph
Nora O Murch and Hua Shu Fall Recipe
Shane Mecklenburger The Electric Deep: Dream
What Happened to the Visions of the Additive Machine
Readymake: Duchamp Chess Catalogo de Produccin de Dr. Anna Greenspan and Dr.
Pieces? Naves Author Hidrodinamicas Suzanne Livingston
Scott Kildall and Bryan Cera / Hydrodynamic Vessels
Production Catalog USOA 1.0 (Ultimate Software
An Archaeology of #Additivism Sofia Crdova Open Animal)
Sha Hwang and Gaia Scagnettit ARTEKLAB
GT-200
Artifacts and Bygones (G.R.A.B.) Urs Guadenz Surface Breeding
Tom Burtonwood Beln Zahera
#extract
#constrain Biointelligent Membranes
Purple Flowered African Violet Cathrine Disney
Pistil Darlene Farris-LaBar
Anonymous KAURI
Echoes of Earth: Geraldine Jurez
A Cautionary Note on Pursuing The Rocks of Us
3D Printing as a Hobby Marija Bozinovska Jones What Would an Additivist
Catherine Scott and IYDES Literature be?
Germn Sierra
Monomateriality #extrude
Vimal Patel Desire Grammar Totem
Perception Kanyaphorn Kaewprasert and
#deface Andrew Blanton Kornkamon Kaewprasert with
Gaia Scagnetti (contributor)
Adding to Subtract: The Honesty of Extrusion
3D Printer Recipes to Disrupt Catherine Scott The Fellatio Modification Project
Our Desire for More Kuang-Yi Ku
Benjamin Grosser How to Mine for Space Geodes
Debbie Ding Anatomy of a Cyborg 3D Printer
Minusplusplus Laura Devendorf
Henrik Nieratschker Stones of Their own Kind
Emma McCormick-Goodhart Print_Music
Meshbombing Matthew Hollings
Jason Ferguson Untitled_Force
Katy Connor The Perspective of Print
Reconfigured Crevices: Patrick Whitmarsh
An Habitual Interruption The Universal Addressability
Nano Entity Collective of Dumb Things Becoming Horror in The
Mark Leckey Plasticene
Chess with Mustaches Daniel Rourke
Scott Kildall and Bryan Cera Women of Medri Bahri
Shushan Tesfuzigta Synthetic Hormonal History Map
Snowden Crown Jewels Ryan Hammond
Zack Rispoli Speculative Prototyping:
Making Plastic Printing Vampyroteuthian Art
#detach Sustainable and Playful Vilm Flusser
The Speculative Prototyping Lab,
Liberator Variations University of California, Irvine
Kyle McDonald (Jesse Jackson)
Action Action
Index Index

#remesh INSTAR III : Excerpts from the GP

Chronicles of Scion Uma Oickle
Bouequet, Stealth Poetry Katie Kaulbach and Timothy
Module 02 Weaver
Amy Ireland
The Ring
The TurtleBag Lishan Amde
Antonio Esparza
Did Andy Like Anchovies?
Cheat Sheet for a Non (Or Less) Michelle Kasperzak
Colonialist Speculative Design
A Parede Curatorial Statement #smooth
(Luiza Prado and Pedro Oliveira)
New Skins: From Fake Flesh
#HeLadditivism to Programmable Prosthetics
Carl Gent Corinna Kirsh and Dylan Schenker

The Domestication of Plastic Deceleration Recipe

Heather Davis Lucas Odahara

The Webcamera Obscura What We Know About

Jasper Meiners and Isabel Paehr Every;thing
Mandi Goodier
New Blood:
The 21st Century Manifesto Print Green
Julian Hanna Print Green

Shiv Integer On Preserving Glitch

Julien Deswaef and Matthew Sophie Kahn
Plummer Fernandez
BLOOD BATH
Souvenirs (Corcovado) Symrin Chawla
Gabriel Menotti

Material Speculation: ISIS

Morehshin and Allahyari and
Paul Soulellis

Peaceful Warrior
Tabita Rezaire

Anti-Anthropocalyptic Set
The Mighty Kongbot Inc.
(Dom Barra & Luigi Console)

#replace

The Pig Function Toolkit

Body & SWINE

Fundament(al) 3D Printer
Chris Coleman

The Official Byononymous

Guidebook
Heather Dewey-Hagborg
Acknowledgements
The seed for this project was planted in
February 2014 at a party at Tritriangle,
Chicago, over drinks and new media art. In
March 2015 we published The 3D Additivist
Manifesto, relying on our tentacular social
media reach to get the word out. The
response was profound, propelling us
forward with a momentum that has yet
to dissipate. We have read and reacted,
collected and contemplated, compiled
documents and presentations, been
interviewed, travelled, talked, lectured,
held workshops, sent emails (oh so many
emails) and met an astounding number of
people without whom nothing you see here
would have been possible. We want to
thank everyone who has touched our lives
and this project over the last three years
and made this journey so meaningful.
Every work contained in this Cookbook
has its own story to tell, and it is to the
artists, makers, thinkers, activists and
writers whose ideas fill this volume that we
owe the biggest thanks. We consider the
publication of The 3D Additivist Cookbook
as merely the beginning.
Friends and colleagues who supported us
along the way: Alexis Anais, Mona de Paula Antunes,
Sophie Barret-Kahn, Tom Burtonwood, Jon Cates,
Michael Connor, Heather Davis, Regine Debatty,
Zara Dinnen, Carla Gannis, Mindaugas Gapeviius,
Benjamin Gaulon, Sally Glass, Katharina Gratzl-
Karnitschnig, John G. Hampton, Tim Harrison, Claudia
Hart, Darsha Hewitt, Suza Husse, Corinna Kirsch,
Anna Khachiyan, Nora Khan, Anna Khachiyan, Willa
Kerner, Marie Lechner, Lipstick Studios (Angela
Shackel & Braden Labont), Filippo Lorenzin, Gretta
Louw, Alice Morey, Michael A. Morris, Mani Nilchiani,
Sandy Muir, Benoit Mathieu Palop, Anand Pandian,
Penny Rafferty, Patrick Romeo, Nooshin Rostami,
Adam Rothstein, Suzie Silver, Ben Valentine, Angela
Washko
Special thank you: Andrew Blanton, Tim Booth,
Shane OShea, Rita Macedo, Holly Pester, Andrea
Young
Designers: The Laboratory of Manuel Brger (Manuel
Brger, Alexander Papoli, and Simon Schindele)
Editing and support of many kinds: Rita Macedo
Cover image, 3D work and editorial support:
Shane OShea
Additional copy editing: Miriam Rasch
Sub-curated sections: Lucca Fraser, Browntourage
(Emilia Rappaccioli & Biayna Bogosian), A Parede
(Pedro Oliveira & Luiza Prado)
Manifesto translators: Spanish: ARTEKLAB (Saul
Barrera, Maitane Garbizu, Ibon Gurrutxaga, Alaitz
Lazcano, Jaime de los Ros, Enrique Sancho, Daniel
Tirado), German: Adrian Demleitner, Turkish: Ahmet
A. Sabanc, French: Hadrien Sayf, Portuguese: Rita
Macedo, Italian: Petrus Bis with Domenico Dom Barra,
Filippo Lorenzin, Emilio Vavarella.
Thank you to all our followers on Tumblr, Facebook and
Twitter. Special thanks to members of the #Additivism
Facebook Group and to everyone who has attended
one of our #Additivism workshops for helping us make
the future weird.
Sponsorship and Publication
The 3D Additivist Cookbook was produced
as part of transmediale 2016s Vilm
Flusser Residency Programme for Artistic
Research with support from the Ernst
Schering Foundation (Berlin). Transmediale
is a project of Kulturprojekte Berlin GmbH
in cooperation with the Haus der Kulturen
der Welt funded by the German Federal
Cultural Foundation.
The 3D Additivist Cookbook was designed
with The Laboratory of Manuel Brger
(Manuel Brger, Simon Schindele and
Alexander Papoli), and was published
by The Institute of Network Cultures
(Amsterdam) as a 3D PDF and print-on-
demand publication, December 2016.
We also received support from these organizations,
institutions, events and people. With special thanks:
Autodesk/Pier 9 workshop Artist Residency
Program: Noah Weinstein, Vanessa Sigurdson
Colab at the Auckland University of Technology:
Harry Silver, Lisa Dreyer, James Charlton, Frances
Joseph
Emergent Digital Practices program at the
University of Denver: Christopher Coleman, Timothy
Weaver, Rafael Fajardo
Ernst Schering Foundation: Heike Catherina
Mertens, Martina Schrammek
Frank-Ratchye STUDIO for Creative Inquiry at
Carnegie Mellon University + VIA Festival: Lauren
Goshinski, Golan Levin, Tom Hughes, Linda Hager
Institute of Network Cultures: Geert Lovink, Miriam
Rasch
Jeu de Paume (with support from DICRAM) +
Disnovation: Mlanie Lemarchal, Nicolas Maigret,
Marta Ponsa
Printed Matter: Paul Souellis, Keith Gray
Sonic Acts: Rosa Menkman, Annette Wolfsberger,
Rick Everts, Julia Nuesslein
Southern Methodist University: Danielle Avram,
Noah Simblist
Transfer gallery: Kelani Nichole
Transmediale 2016s Vilm Flusser Residency
Programme for Artistic Research: Kristoffer
Gansing, Inke Arns, Daniel Irrgang, Anita Jri, Sanga
Lenz, Inga Seidler
Adam Rothstein Jason Ferguson Scott Kildall
Alan Warburton Joey Holder and Bryan Cera
Alison Bennett, Megan Julian Hanna Sha Hwang
Beckwith and Mark Payne, Julien Deswaef and Gaia Scagnetti
featuring Jackie Hammer and Matthew Plummer Shane Mecklenburger
Ami Drach Fernandez Simon Clark
and Dov Ganchrow Kanyaphorn Kaewprasert Sophie Hoyle
Amy Ireland and Kornkamon Sophie Kahn
Andrew Blanton Kaewprasert Suzanne Livingston
Antonio Esparza with Gaia Scagnetti and Anna Greenspan
ARTEKLAB (Jaime de (contributor) The Speculative
los Ros, Daniel Tirado, Katie Kaulbach Prototyping Lab,
Enrique Sancho, Saul, and Timothy Weaver University of California,
Ibon Gurrutxaga) Katy Connor Irvine (special thanks to
Behnaz Farahi Kayla Anderson Jesse Jackson)
Belen Zahera Keeley Haftner Tom Burtonwood
Benjamin Grosser Kuang-Yi Ku Tom Lauerman
Ben Valentine Kyle McDonald Urs Gaudenz
Brittany Ransom Laura Devendorf Vilem Flusser
Body and Swine Leo Selvaggio Vimal Patel
Carl Gent Leo Sexer Woelab-Lom (special
Cat Mazza Mandi Goodier thanks to Sename Koffi
Catherine Scott Marija Bozinovska Jones Agbodjinou)
Cathrine Disney and IYDES Zach Rispoli
Christopher Coleman Mark Leckey
Claudia Hart Matthew Hollings A Parede
Corinna Kirsch Michelle Kasprzak (Luiza Prado
and Dylan Schenker Mighty Kongbot (Dom and Pedro Oliveira)
Daniel Rourke Barra and Luigi Console) with Fannie Sosa,
Daniel Temkin Morehshin Allahyari Lucas Odahara,
Darlene Farris-LaBar and Paul Soulellis Tabita Rezaire
Debbie Ding Nadav Assor
Elia Vargas Nano Entity Browntourage
(with footnotes by Nicholas OBrien (Hawa Arsala
Dorothy Santos) Nora O Murchu and Tonia Beglari)
with Lishan Amde,
Emma McCormick- and Hua Shu
Shushan Tesfuzigta,
Goodhart Norah Al-Badri Sofa Crdova,
Everardo Reyes-Garcia and Nikolai Nelles Symrin Chawla,
Fahmy Shahin Norman Hogg Emilia Yang,
Gabriel Menotti Patrick Lichty Biayna Bogosian
Geraldine Jurez Patrick Romeo
Germn Sierra Patrick Whitmarsh
Golan Levin Print-green.org (Maja
and Shawn Sims Petek, Tina Zidanek,
Heather Davis Urka Skaza, Danica
Heather Dewey-Hagborg Koroec and Simon Tran)
Henrik Nieratschker Rosa Menkman
Jasper Meiners Ryan Hammond
and Isabel Paehr Samy Kamkar ISBN 978-94-92302-10-6 (PDF)